The billion-dollar action film series John Wick is being turned into a video game, featuring the likeness and voice of star Keanu Reeves. Untitled John Wick Game, as it is currently known, will be made by Warhammer 40,000: Space Marine 2 developer Saber Interactive and include input from film franchise director Chad Stahelsk. A trailer for the game, which is expected to be a prequel to the series, was unveiled at PlayStation's State of Play showcase on Thursday. The Sony event also revealed several remakes of major game franchises, including the God of War trilogy, as well as a 30th anniversary edition of platformer Rayman. The John Wick film franchise, which has earned more than $1bn (£735m) worldwide, follows the story of the retired assassin played by Keanu Reeves on a path of bloody vengeance.

Ubisoft has cancelled six video games - including its long-awaited Prince of Persia: The Sands of Time remake - as part of a major reset of its operations. The French developer and publisher, known for popular games such as Assassin's Creed, Far Cry and Just Dance, has closed two studios and delayed seven titles as part of its changes. Ubisoft boss Yves Guillemot said the move would create the conditions for a return to sustainable growth. The firm's shares plunged by 33% on Thursday morning following the announcement. The move comes at a time when studios are increasingly turning to video game remakes and remasters, with new versions of Super Mario Galaxy, Oblivion and Metal Gear Solid 3 proving popular in 2025.

Despite significant advancements in video generation and editing using diffusion models, achieving accurate and localized video editing remains a substantial challenge. Additionally, most existing video editing methods primarily focus on altering visual content, with limited research dedicated to motion editing. In this paper, we present a novel attempt to Remake a Video (ReVideo) which stands out from existing methods by allowing precise video editing in specific areas through the specification of both content and motion. Content editing is facilitated by modifying the first frame, while the trajectory-based motion control offers an intuitive user interaction experience. ReVideo addresses a new task involving the coupling and training imbalance between content and motion control. To tackle this, we develop a three-stage training strategy that progressively decouples these two aspects from coarse to fine. Furthermore, we propose a spatiotemporal adaptive fusion module to integrate content and motion control across various sampling steps and spatial locations. Extensive experiments demonstrate that our ReVideo has promising performance on several accurate video editing applications, i.e., (1) locally changing video content while keeping the motion constant, (2) keeping content unchanged and customizing new motion trajectories, (3) modifying both content and motion trajectories. Our method can also seamlessly extend these applications to multi-area editing without specific training, demonstrating its flexibility and robustness.

The slogan, from the 1990s, is one of the most famous in video game history. It was a time when the bitter rivalry between the two Japanese game companies was at its fiercest. Today, that relationship has softened. You can play Sonic games on Nintendo consoles and the characters have even appeared in games together. But is Sega trying to restart the beef?

Despite significant advancements in video generation and editing using diffusion models, achieving accurate and localized video editing remains a substantial challenge. Additionally, most existing video editing methods primarily focus on altering visual content, with limited research dedicated to motion editing. In this paper, we present a novel attempt to Remake a Video (ReVideo) which stands out from existing methods by allowing precise video editing in specific areas through the specification of both content and motion. Content editing is facilitated by modifying the first frame, while the trajectory-based motion control offers an intuitive user interaction experience. ReVideo addresses a new task involving the coupling and training imbalance between content and motion control.

It is a question that scientists have been wrestling with since the dawn of computing in the 1950s, when Alan Turing asked: "Can machines think?" Now that large language models (LLMs) like ChatGPT have been unleashed on the world, finding an answer has never been more pressing. While their use has already become widespread, the social norms around these new AI tools are still rapidly evolving. Should students use them to write essays? Will they replace your therapist?

Iconic game designer Jeff Minter is back with another modern take on a long-forgotten Atari title. Minter has turned his psychedelic eye toward the 1984 arcade cabinet I, Robot. His version ups the visuals and takes serious liberties with the original design, adopting techno music and some new game modes. The original I, Robot was a flop, despite being made by Dave Theurer, the guy behind Missile Command and Tempest. Maybe it was just ahead of its time.

This year may not have been as jam packed as 2023 was for gaming, but there were still plenty of amazing new releases. Whether you love a good indie or a big-budget production, this year had you covered. All you needed to do was look a bit deeper than you might have in 2023. The core of Animal Well isn't that structurally complicated: It's a lock-and-key Metroidvania. You go to places to unlock other places and abilities. Beating the core "story" opens up a couple layers of admirably elaborate and increasingly meta secrets, but let's be real, most people interested in those are just going to look up the answers online. And yet, you play it, and you can't help but think there isn't much like it nowadays. It's the fact that you never learn what your little blob guy is. It's giving you a map to mark up yourself instead of providing any instructions.

What I have always admired about Japanese role-playing games is their unashamed grandiosity. The likes of Final Fantasy, Persona and Shin Megami Tensei don't restrict themselves to the familiar trappings of good v evil, wizards-and-goblins, swords-and-magic; they absorb all of those things, and plenty else besides, from science fiction and mythology and comic books and psychology and classical art and whatever else interests their creators, and construct these absurdly ambitious worlds and narratives out of them. The themes are never small, the playtimes never short. Think of them as the operas of the video game world: a theatrical synthesis of different virtual arts, from storytelling and stagecraft to music and movement. And as something of an acquired taste.

I miss very few things about being a teenager, but I do miss all the time I had back then to play video games. I got great joy out of binge-playing into the small hours, an opportunity I almost never get now as a busy adult. Aside from covering games for work it feels as if I barely get time to play at all, which explains my affection for games that can be polished off in a couple of evenings, rather than the gigantic, absorbing role-playing games I used to crave. I have pretty much made peace with this. My days of 100-hour epics and/or live-service online games are behind me.