--This paper investigates the application of Neuroevo-lution of Augmenting T opologies (NEA T) to automate gameplay in Dark Souls, a notoriously challenging action role-playing game characterized by complex combat mechanics, dynamic environments, and high-dimensional visual inputs. T o facilitate this approach, we introduce the Dark Souls API (DSAPI), a novel Python framework leveraging real-time computer vision techniques for extracting critical game metrics, including player and enemy health states. Using NEA T, agents evolve effective combat strategies for defeating the Asylum Demon, the game's initial boss, without predefined behaviors or domain-specific heuristics. Experimental results demonstrate that evolved agents achieve up to a 35% success rate, indicating the viability of neuroevolution in addressing complex, visually intricate gameplay scenarios. This work represents an interesting application of vision-based neuroevolution, highlighting its potential use in a wide range of challenging game environments lacking direct API support or well-defined state representations. The development of artificial intelligence (AI) capable of playing video games at a human or superhuman level has long been an important benchmark in AI research [1], [2].

If you're just discovering PlayStation 5 a few years after its debut, you've arrived at a great time. Sony's in-house studios have produced some of their best work in this generation, exploiting the technical prowess of the console while crafting vast narratives and interesting characters. Meanwhile, both major third-party studios and tiny indie developers have exploited the machine and its innovative controller to astounding effect. Sony's luscious 3D platformer sees the eponymous space robot stranded on a distant planet with his hundreds of adorable companions. All the parts of his mothership are guarded by a colourful array of bosses, and you must put it back together.

In 2002, a group of five Italians made the local news: they were going to be the first company in the country to develop a game for Nintendo's popular portable, the Game Boy Advance. The cadre pulled together a few hundred euros and some computers to prepare for the project. They had no experience making games. They didn't even have a programmer. All they had was a love for video games, a shared hatred of working for bosses, and endless optimism.

Before becoming a household name in gaming circles, he cut his teeth working on the studio's long-running Armored Core series, serving as a planner on 2005's Armored Core: Last Raven and then as director on Armored Core IV and Armored Core: For Answer. Following the success of Demon's Souls and Dark Souls, FromSoftware went on to release two more Armored Core games, though Miyazaki wasn't directly involved in those projects. Since then, the studio has been busy building on the Souls series, culminating with the runaway success of Elden Ring. Now, for the first time in nearly a decade, From is revisiting its mech franchise. Armored Core VI: Fires of Rubicon also marks the directorial debut of one of the studio's most promising up-and-coming talents -- Masaru Yamamura the lead game designer on Sekiro: Shadows Die Twice, and a designer on Bloodborne. Armored Core VI is not a Soulslike, but a lot of its best ideas feel informed by Sekiro and Bloodborne.

It's been just under nine years since Titanfall landed on the PC and Xbox, and just under nine years since publisher Electronic Arts has been underutilizing one of its most interesting and promising franchises. With the rumor that EA has canned a third Titanfall game after years of development, I think it's time we look back on what this game was, what it could have been, and lamentably, what it never will be. What is Titanfall right now? Part of the first wave of Xbox One titles and one of the console's very few exclusives, the original Titanfall was the first game developed by Respawn Entertainment, which was founded by former executives of Call of Duty creator Infinity Ward. It made a splash from its introduction at E3 2013, wowing gamers with a mix of fresh, parkour-infused multiplayer shooting and the titular Titan mechs as a fresh addition to the genre.

When video games were just abstract concepts on university computers, book clubs were already popular. When Toad told Mario the princess was in another castle, introducing video game narrative to millions of living rooms, readers were already comparing notes on Jane Eyre. So, it's only natural that as video games became more narratively ambitious, they'd take this familiar page from the literary world. So, move over, Oprah--you've got competition. Delivered as multi-episode podcast seasons, these "video game book clubs" earn the moniker thanks to weekly deep dive episodes into narrative-heavy video games, and ongoing, guided discussions among their robust listener communities.

While the concept of guessing the "correct" word is similar, Semantle's answer can be any number of letters long. The only way a player knows if their guess is on the right path is through Word2Vec, the Google-owned, underlying technology running the game, which produces a number representing how close the word's meaning is (a.k.a. It also provides a "Getting close?" indicator of "hot" or "cold."

This long-awaited indie game stars an adorable little fox, and his green apparel leaves no doubt as to where the game's affections lie. Aesthetically and structurally, this is a Zelda tribute, with cute-yet-menacing baddies to bash with a sword and repel with a shield as you gradually uncover more and more of a sprawling world that stretches far underground and up into snowy mountain reaches, through gloomy dungeons illuminated by mysteriously glowing pools. But it is not a pale imitation. Tunic displays not only a deep love for Nintendo's adventure classic and games like it, but a deep and even subversive understanding of what makes them tick. Tunic is surprisingly tough, taking just as much inspiration from Dark Souls. The world fits together like a clockwork model, full of pleasing shortcuts and hidden paths, and so pleasing to walk around that I felt compelled to draw it out in a notebook to see how it connected.

Welcome to Pushing Buttons, the Guardian's gaming newsletter. If you'd like to receive it in your inbox every week, just pop your email in below – and check your inbox (and spam) for the confirmation email. I have a long, emotionally-significant history with Elden Ring's developer – I was the first person in the world to review Dark Souls, for heaven's sake – but I still haven't found time to play FromSoftware's latest title. I once flew to California to play Dark Souls for 24 straight hours on a live stream. These games are IMPORTANT to me!

A film's themes, or its plot, can be misconstrued by a lazy viewer. Only a video game, however, can punish an audience's faults. If a player mistimes a jump, falls to an adversary, or fails to reach the end of a level, a game can deny them access to the rest of the work, halting progress until they pass the test or resign in defeat. The video-game director Hidetaka Miyazaki, who's in his late forties, has punished more players than perhaps anyone else. In Dark Souls, the 2011 fantasy game that made him famous, you play as a loin-clothed wretch, racing through sewers and cowering in forests.