Following two years of preproduction, game developer 10 Chambers finally announced its new heist game—Den of Wolves—Thursday during the 2023 Game Awards. Set in 2097 in a highly corrupt city located in the middle of the Pacific Ocean, it is, according to narrative director Simon Viklund, the kind of game “where you’re supposed to feel like a badass.” For Viklund, who also serves as the game’s composer (he did the compositions for PayDay: The Heist and PayDay 2, too), that means “the music needs to, like, [grunt noise].”
True to its name, Den of Wolves’ fictional city is a place where basically anything is legal as long as it is done in the pursuit of supercharged innovation and groundbreaking technology. Imagine PayDay meets Cyberpunk 2077 set in a metropolis that’s a mixture of Venice and Hong Kong. The concept is quite different from 10 Chambers’ previous work with horror game GTFO, but it structurally plays to the studio’s core strength: four person co-op games.
A lot is on the line as the studio works on its second release. 10 Chambers received an investment from Chinese tech and entertainment conglomerate Tencent to build this game and expand from a small staff of around 10 people to nearly 100. Viklund emphasizes that the game will have a highly detailed environment but that gamers should not expect an open-world experience. The overall vibe, Viklund adds, pulls from a litany of sci-fi and thriller movies, like Heat and Judge Dredd (the Stallone one, not the 2012 reboot).
While he enjoyed working on horror game music for GTFO, Viklund is excited to move away from that genre and back to a PayDay-esque heist experience. “My wheelhouse is this power fantasy type of music,” he says. Never played that franchise before? Give “Razormind” from PayDay 2 a listen any morning you forget your coffee at home and need a quick jolt of adrenaline.
So, what can players expect from the music in Den of Wolves? “So, there’s going to be elements, of course, that are similar to PayDay,” says Viklund. “But I’m keen on taking it somewhere else in terms of tempo. Making it heavier, slower paced.” He also looks forward to incorporating different elements of percussion inspired by the Pacific Ocean setting.
Since the game is still in early development and won’t be released for a while, WIRED did not see any actual game footage during a recent preview event 10 Chambers held for the title. Similar to the launch of GTFO, the company plans to release the game at first to players through Steam early access. Den of Wolves doesn’t have a release date yet, but PC gamers can anticipate receiving it before their console counterparts.
Fans of GTFO may be disappointed that their game’s content updates are ending, but Viklund points to 10 Chambers’ first game as critical for building the company’s confidence around design. “It was very freeing to be able to have a project where we could have that ‘fuck it—we’ll just do it’ sort of attitude,” he says. This type of confidence is a driving force behind 10 Chambers’ decision to develop something fresh for players rather than relying on a franchise concept that already exists.
The first trailer for Rockstar Games’ Grand Theft Auto VI has arrived, and it’s promising a new female protagonist. More of a teaser than anything, the trailer introduces viewers to Lucia, a woman who blames her incarceration on “bad luck, I guess.”
To say Grand Theft Auto VI is hotly anticipated is an understatement. Rockstar’s last car larceny game dropped more than 10 years ago, and despite a circus of speculation and some leaks in 2022, fans have seen almost nothing official from the franchise.
Today’s trailer doesn’t offer much in the way of details. A series of flashing scenes set to Tom Petty’s “Love is a Long Road” feature beaches, late-night parties, and a lot of butts, as Lucia plans a robbery with a partner. It’s the first time Grand Theft Auto has included a female antihero, and it appears players will be returning to Vice City.
Rockstar says GTAVI will be the “biggest, most immersive evolution” of the series yet.
The game is currently set for release in 2025 for PlayStation 5 and Xbox Series X/S. A Bloomberg report from 2022 suggested that the game would feature a Bonnie and Clyde-esque duo in a fictionalized version of Miami.
Rockstar released the trailer for Grand Theft Auto VI, which it had been teasing for Tuesday, December 5, a day earlier than expected after it leaked. “Please watch the real thing on YouTube,” the developer tweeted. A video briefly surfaced on TikTok with what appeared to include debug footage of the game. It was quickly taken down.
It’s not the first time Rockstar has dealt with GTA VI leaks. Last year, a hacker released a huge trove of data from the game, including 90 videos of unfinished development.
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Mario’s reach is expansive. He’s a Lego minifig, a clothing brand, a cereal, a skit on Saturday Night Live. Fans obsess over who’s voicing him, and the size of the character’s butt. He’s a goofy little guy with a wholesome attitude he maintains through the power of only ever yelling things like “Mama mia” and “Wahoo!” For Nintendo’s purposes, Mario is the company’s strongest contender to test the bounds of what it can accomplish. As Nintendo’s most iconic character, in terms of sheer breadth of games and household recognition, he’s essentially a mascot. “There’s a likability, there’s a cuteness, there’s a sense of adventure,” says Bowser. Moreover, he adds, “one of the most important things about Mario is his approachability.”
Approachability was on Nintendo’s mind throughout the development of Super Mario Bros. Wonder. It’s got a familiar setup. Mario, Peach, and pals are visiting a neighboring nation, the Flower Kingdom, when Bowser (the video game character, not the Nintendo president) shows up and wreaks havoc on their floral world. In order to defeat Boswer, players collect the eponymous Wonder seeds.
Wonder, then, is an attempt to set Mario up for the future. The Mario movie and Super Nintendo World are, by design, bringing new people into the fold, and the company wanted the next game in the franchise to be the kind anyone could play, even if they’ve never held a joycon before. “That was particularly important with Super Mario Bros. Wonder, because there’s a host of new people that are just experiencing Mario for the first time, and now they want to experience it in a video game.” It’s a game for new and older fans, many of whom now play with their own kids.
Wonder includes 12 characters to pick from, including five—four Yoshis and Nabbit—that won’t take damage, and make it easier for inexperienced players to get through some of the game’s more difficult levels. Its co-op mode, which includes both local and online play, also means players can work together to finish the game.
Super Mario Bros. Wonder is the series’ first side-scrolling platform in a decade, giving it a high expectation bar to clear. Players are savvier than ever about how Nintendo makes a Mario game (and have even had the chance to create levels themselves, thanks to the Mario Maker series). It’s hard to surprise them. The game’s Wonder elements are worthy of the title, however, activating something a little strange and different every time. Wonder Flowers—a sort of hyperactive powerup—add a welcome sense of surprise to familiar tasks, whether Mario is transformed into a ball of goo, fighting against a shifting level itself, or answering trivia questions. It manages to feel fresh despite the series’ long history.
Peter Hines, one of the leading executives behind Elder Scrolls, Fallout, and Starfield, is leaving developer Bethesda after 24 years at the company. Hines, who was most recently head of publishing and senior vice president at the developer, said the decision wasn’t easy but that the time was now right, following Starfield’s launch.
Starfield, a massive action role-playing game Howard described as “Skyrim in space,” launched September 6 to critical acclaim and was the company’s “first new universe” in over 25 years. Hines says he plans to spend his time “exploring interests and passions, donating time where I can, and taking more time to enjoy life.”
Bethesda is part of Microsoft, which completed its $69 billion acquisition of Activision Blizzard last week.
Hines–alongside game director Todd Howard—has long been a visible face for the company’s massive franchises, like Fallout. In addition to interviews, conference appearances, and press events, Hines was also active on social media, including stunts like writing fake doctor notes ahead of Starfield’s launch, courtesy of “Uncle Pete.”
Bethesda released a brief statement about Hines’ departure. “Pete’s public presence was only a small part of his role at Bethesda, although the way he represented us carried into the values he nurtured here: authenticity, integrity and passion. His contributions have been integral in building Bethesda and its family of studios into the world-class organization that it is today.”
Hines is the second longtime executive in the game industry to retire this month, following Unity CEO John Riccitiello.
Nearly two dozen hours into Starfield, the latest action role-playing game from Bethesda Game Studios, I stumbled upon a side story that was far more thrilling and formally inventive than anything else in the main plot up to that point.
In it, the player is forced to work undercover within a vicious gang, becoming something like a government mole who has to gain the trust of their new colleagues while avoiding becoming the kind of bloodthirsty criminal they’re trying to take down. There are heists, gunfights, daring escapes, and spots of moral intrigue along the way. It’s one of the most compelling bits of the sprawling sci-fi RPG and, because of the game’s design, it seems like it would be very easy to miss.
To get it started, the player must happen to speak to a character they’ve likely sprinted past many times before. They have to have ignored the demands of a main plotline that begs for attention and the innumerable side stories that pop up when walking the streets of Starfield’s sci-fi cities. It’s a diamond hidden deep in the rough that illustrates a major problem with the game’s design: There’s simply so much packed into it that it’s nearly impossible to tell what’s worthwhile.
All artists, from filmmakers and novelists to musicians and gamemakers, have to make countless small editing decisions in their work. Which parts of a character’s life need to be depicted to tell their story? How should multiple instrumental and vocal tracks be mixed to create the best version of a song? Which features and storylines should be included or cut in order to maintain a video game’s pace and overall coherence?
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Starfield presents itself as if very few of these kinds of tough choices have been made. In some sense, this isn’t exactly a fault—many players will be more than happy to lose themselves aimlessly in the game for years to come—but it does make it difficult to recommend it to those less likely to be so committed. For many years, in games from its Fallout and The Elder Scrolls series, Starfield creator Bethesda Game Studios has warranted attention for the sheer size of the worlds it makes and the breadth of activities contained within. The promise of the studio’s work comes from the allure of enormous environments where the player, guiding a character whose morals and physical abilities they develop over time, can interact with the unexpected events that emerge from exploring massive buildings and rural landscapes dotted with roving enemies.
