Forza Horizon 4 is my favourite racing game of all time, and a gloriously daft celebration of going fast set in a stunning, pastoral recreation of the UK. If you haven’t played it, you should buy it quick – because it’s being delisted from digital storefronts later this year, and its DLC disappears from sale today.

It’s a familiar story. Due to expiring licenses, Forza Horizon 4 will be removed from sale on December 15th, 2024.

That’s the bad news. The good news is that the game will remain playable after that date, including its “offline, online and multiplayer features”, according to the announcement explaining the delisting.

Forza Horizon 4’s multiplayer content cycles through events in a system called the “Festival Playlist”. The final series, Series 77, will begin today and ends on August 22nd. After that, the playlist screen will become inacecssible. Daily and weekly challenges will continue, however, so that players can earn Backstage Passes, with which players will be able to unlock cars previously exclusive to Festival Playlists.

I like Forza Horizon 4 more than Horizon 5, mostly because it’s set in a funland version of my actual home and because it lets me race trains and hovercraft through sheep farms and down hillsides. It’s also a game I’ve returned to several times, playing over from the beginning, and I suspect that’s something I’ll want to do again one day. It would be terrible if it became completely unplayable, as Ubisoft’s open world racing game The Crew did earlier this year.

Playground Games say that Forza Horizon 4 will receive various discounts between now and December, and it’s already 80% reduced over on Steam. A bargain.

Last week, publisher Skystone Games announced its Early Access shooter Boundary is going offline at the end of June. But what first sounded like a standard tale of an online game going down is actually more thornier than expected.

In the announcement for the game’s closure, Skystone claimed it’d give publishing rights to developer Surgical Scalpels. It then went on to claim the studio failed to update and improve the game, in turn leading to “growing concerns” from players.

But as PCGamer spotted, Surgical Scalpels has a different side of the story. Per the developer’s translated post, Skystone allegedly (and abruptly) decided to stop supporting Boundary, a move it called “unreasonable and unfair to [us] and the players.”

“We immediately negotiated with SkyStone after receiving the notice,” it added, “but unfortunately, we failed to change SkyStone’s unilateral decision to stop operating Boundary.”

Sometimes, a publisher will give the developer their game rights without much friction. But in cases where feuds do break out, it can often concern games at risk of being delisted or going offline, if that’s not a consequence of the feud to begin with.

At time of writing, it’s Surgical Scalpels that’s aiming to get the game’s rights back in the hopes of a future relaunch. It’s also working to get the money from Skystone it claims to be owed, though it stopped short of saying how much and how long it’s gone without being paid.

While this dispute has resulted in Boundary being “suspended,” Surgical Scalpels assured the game “will not stop forever. […] We will never give up.”

As a game designer, you’ve got to keep asking yourself: What’s the goal of my design? For a lot of us, it’s creating an immersive experience, which can be achieved by getting players into a flow state. To get them there, you need to know what might be getting in the way. One gameplay element that has been debated for a while is the head-up display (HUD).

Flow in games

Let’s clarify what flow actually is about. You’ve probably heard it’s about balancing challenge and skill, and that’s true, but there’s more to it.

Flow is a special state where players get so absorbed into the game that they forget everything else—time, space, you name it. They’re focusing so hard that nothing else matters. Giving them a sense of control and making the gameplay experience incredibly engaging.

But there’s a catch. The flow state can also lead to players losing self-reflection, making it hard to remember what happened. So, as a game designer, always consider your design goals. If you want to create an unforgettable experience, flow might not be the way to go.

The role of the HUD in game

The HUD is the piece of user interface (UI) that overlays gameplay, serving a crucial role. It conveys information and feedback to the player, but it also has a supportive role. Information and feedback shown on the HUD can often be gathered through other means. Take a healing effect, for example. The primary way of showing this is through some VFX and animation, but it’s also indicated by sounds and HUD animations that support the conveying of this crucial information to the player.

Screenshot from Overwatch 2 (Blizzard, 2022)

In short, information and player feedback are often represented in multiple ways, with the HUD being one of them.

Impact of the HUD on flow

Now, how does the HUD impact flow? In a few ways. First, removing the HUD might make players feel slightly out of control. This happens because players can feel lost without an ease of access to information, possibly weakening the flow state. However, this lack of easiness could also have its benefits. It forces players to concentrate more on what they’re doing, which could lead to a stronger flow state. This presents a confusing situation: losing the HUD might both strengthen and weaken the flow state.

So, should we abandon it?

There’s no clear answer to this question yet. The use of HUD has both its ups and downs, and it’s up to the game designer to figure out whether the benefits outweigh the downsides for their game. In game design there is one big rule: there are no set rules. It’s all about experimenting and taking the core of your game in mind. So, for anyone still wondering whether they should abandon the HUD, try it out. Who knows? Perhaps your game will be better for it. Or maybe not, and that’s why we experiment.

Industry veterans Brandon Dillon and Richard Foge have launched a new studio called 2weeks to rapidly create experimental projects for the open web.

Dillon previously spent over six years at Oculus, most recently as the company’s product management director. Prior to that he served as the technical director on Grim Fandango Remastered and product lead on Hack ‘n’ Slash at Double Fine.

Foge spent four years at Possibility Space, which was shuttered by co-founder Jeff Strain earlier this year. He also worked at State of Decay developer Undead Labs for almost a decade as design director.

The pair explained their core development pillars are rapid prototyping, experimentation, and transparency. “Our goal is to whip up small, experimental prototypes at lightning speed and ship them straight to you on the open web,” they added in a press release.

“Why the web? Because we want to get games in your hands fast. No app installations. No high-end devices required–just pure gaming joy for everyone as quick as we can serve it up.”

Dillon and Foge say it’s an approach that will let them test “wild” ideas that don’t work in a traditional model and share them with players much earlier. They’ll also be able so solicit direct feedback so they can quickly improve their experimental platter.

Several studios founded by industry veterans dedicated to shipping smaller games faster have surfaced in 2024. These include companies like Barnyard Games, which are prioritizing development on user generated content platforms like Unreal Engine for Fortnite.

2weeks’ debut release is strategic title called Homestretch Bet that combines the “thrill of horse racing with the strategy of Texas Hold ‘Em.” Players must bet on their favorite horse based on their stats and the luck of the draw as the race unfolds.

The studio intends to keep fan in the loop by way of newsletter that will roll out regularly. Those eager to see 2weeks’ development philosophy in action can try Homestretch Bet right here.

Shift Up considers Stellar Blade a successful launch and claims its sales have surpassed 1 million copies worldwide over the past two months.

Per Game World Observer and GameMeca, the South Korean studio held a recent press conference for its future IPO. During the conference, CFO Ahn Jae-woo noted the PlayStation 5 exclusive’s “smooth” launch.

Sony has yet to comment on Stellar Blade’s commercial performance, which may cause some discrepancies with Shift Up’s numbers. But in May, the studio claimed the game “exceeded expectations,” and other developers (namely Koei Tecmo) have also been open about the launches of their recent games.

Shift Up further claimed Stellar Blade made 22 billion won (or 15.8 million) in royalties from Sony. 15.7 billion won came from May, and 6.7 million won from April.

Ahn also indicated the game’s PC version would be releasing in the near future, saying it was already under review. Ahn also speculated that Stellar Blade’s “IP value” will increase after its PC release.

Shift Up previously said it was also looking to produce a sequel and turn the game into a consistent triple-A series like God of War or Final Fantasy. But first, the studio will have to wait for Stellar Blade’s timed PS5 exclusivity to run out.

Forza Horizon 4 is going back in the garage on December 15.

Playground Games revealed that its 2018 racing sim will be delisted from the Microsoft Store, Steam, and Xbox Game Pass on that date. The developer attributed it to “licensing and agreements with our partners.”

The last game in the series to be delisted was Forza Motorsport 7 in 2021, and for this sub-series specifically, Forza Horizon 3 the year prior. In the former case, that loss was similarly due to expiring licenses.

After August 22, players will no longer be able to access the Forza Horizon 4’s in-game playlists. As of today, June 25, the game’s DLC has already been delisted.

As with other delisted games, players who own the game will still be able to redownload and play it after December 15. Its offline and online features will remain, regardless of if the physical or digital version is being played.

In light of the game’s delisting, Playground is selling Forza Horizon 4 at discounted prices on Steam and will run a similar sale for Xbox players in July.

Free-to-play developer Scopely is bringing on on Mike Seavers to run its technology department as senior vice president.

Seavers previously worked as chief technical officer at Riot Games and Yuta Labs. The press release notes his work on League of Legends and Fortnite throughout his 25-year tenure and his skill in “scaling audiences and communities.”

Per COO Eunice Lee, Seavers will also team with co-founder Ankur Bulsara to “shape the trajectory of Scopely’s technological expertise and ensure we’re leveraging emerging technologies to best enhance our player experiences and empower our world-class gamemakers.”

Scopely also notes his proficiency in cross-platform technology, which it deemed “essential” for its games on consoles. It added that Seavers comes as titles like Monopoly Go! and Marvel Strike Force are seeing success and “continued engagement.”

“Cross-platform hits like Stumble Guys highlight [Scopely’s] ambition to create even more immersive and unforgettable experiences,” said Seavers. “I look forward to collaborating with the team to continue pushing the boundaries of innovation.”

Back in March, Scopely added another leader to its ranks with Bob Loya, who oversees its partnerships with external studios. As with Seavers, the developer said Moya’s inclusion will help it achieve its larger ambitions.

Atari-owned publishing label Infogrames has acquired the Surgeon Simulator franchise from Tinybuild.

Surgeon Simulator is over a decade old, having debuted with the release of the original title in 2013. Since then, the franchise has expanded with a VR spin-off called Surgeon Simulator VR: Meet the Medic. It also ventured onto Switch in the form of Surgeon Simulator CPR, before a full-blown sequel, Surgeon Simulator 2: Access All Areas, was released in 2020.

Infogrames hopes to expand distribution, potentially develop new titles or content, and explore brand and merchandising collaborations as part of a long-term plan to “preserve and expand” the series. The company didn’t disclose how much it paid for the franchise.

Atari and Infogrames are back in the mix

This is the second acquisition Infogrames has made since being revived by Atari in April. The company previously purchased Totally Reliable Delivery Service (also from Tinybuild).

Atari said it resurrected Infogrames to acquire IP and publish games that fall outside the core portfolio associated with its brand.

“Infogrames intends to actively manage its catalog of titles by expanding digital and physical distribution, and developing new collections and sequels. Consistent with Atari’s approach, Infogrames sees game preservation as a core component of its mission,” reads a press release.

Atari has expanded significantly in recent years with the acquisitions of studios including Nightdive Studios and Digital Eclipse. It also nabbed the rights to Rollercoaster Tycoon 3 from Frontier Developments.

Boil the kettle, we’re having cheap ramen. If you liked Townscaper for simple seaside town tinkering, or enjoyed the forest-dwelling demo of Tiny Glade’s homely castle creation, you might get a satisfied sigh out of this. Dystopika is a cyberpunk build ‘n’ chill where you place down skyscrapers, apartment blocks, factories, and imposing ziggurats straight out of Blade Runner. There’s no goal, no big number to hit or yammering town mayor to appease. Just some low tempo music, straightforward building controls, and the ability to insert your own cat pictures on the sci-fi billboards.

Watch on YouTube

It’s a “meditative city-sculpting experience” according to designer, Matt Marshall, who made the game partly while travelling for a year across cities in Japan, Vietnam, Thailand, and Indonesia. “No goals, no management, just rich, atmospheric moods for contemplation, creativity and wonder,” he says. What this means in real terms is that you’re being given a toy for gardening a city skyline of the future.

The tools for building are sweet ‘n’ simple. You plop down buildings, choosing from among some themes. Perhaps you want those neo-pyramids of Omega Corp, or maybe the small blocks of lowtown. You click them into being, rotate them, resize them, and watch as a smattering of other tiny buildings appears magically around them. The automatic growth of a city happening in seconds. Very soon a handful of extra props are unlocked. For me, it all moves towards constructing a pleasing shot for the camera in the game’s photo mode. Ah, there we are. Snap.

These no-frills builders evoke the feeling of dressing a set with pre-made props. You’re preparing a scene, building up to that perfect frame, that pleasant feeling of satisfaction as you look over everything and think: yes, that’s it. You don’t have to think too hard about the fine detail of the props you’re adding, it’s all about composition, broad strokes. In Dystopika, you can get more into the nitty gritty as you go along, adding glowing advertisement billboards, neon lettering, holographic whales and (my personal favourite) little hovercar highways that criss-cross the city high above the smog-coated ground. But largely, it’s like those other relax-o-builders, in that it invites you to stay loose and not worry too much. There’s no wrong place to build a skyscraper.

Image credit: Rock Paper Shotgun / Voids Within

When you feel ready, you can import images from your computer onto the huge billboards of the city, filling your neo-capital with the feline mascots such a metropolis deserves. So far I’ve only toyed with it for an hour, raising three distinct clusters of buildings at some distance from one another (in the cyberfiction of my own head, they are separate districts). New props, megastructures, camera modes, and mod features are planned for the future, says the creator in a road map on the game’s Steam page. But I can safely say it has already given me my six quids worth of focused cyber-flow. Please excuse me, my glasses are steaming up. Must be all the noodling.

I’m addicted to Coral Island. There, I said it. To date, I’ve logged over 300 hours (while listening to countless podcasts and audiobooks, sorry audio team), having only started the game several months ago on Xbox Game Pass.

As a Writer and Narrative Designer at Sticky Brain Studios, I was testing out some games as research for our next unannounced title. I only delved into Coral Island after rage quitting Stardew Valley (I know, my team’s Animation Director/next game’s Concept Creator E. Joan Lee finds this hilarious). Sometimes, it really boils down to aesthetics and explaining how to get started.

From what my colleagues tell me, Coral Island is remarkably similar to Stardew Valley. Coral Island’s main story quest is clearing the ocean of garbage and uncovering beacons that pierce through and dissolve an oil spill-like root that is poisoning the island and surrounding ocean waters. It gets a bit monotonous (hence me with the audiobooks), so it makes sense to also have the farming sim part, plus peppering the gameplay with NPC interaction and collection.

I love a game with crafting quests and resource management. I also spent ages playing Mineko’s Night Market … twice. I love that Coral Island also has a racially diverse range of NPCs, and with its Indonesian studio/development team, it skews East Asian, so things like the Harvest Moon festival, mooncakes, the Cherry Blossom Festival, and Indonesian foods are featured. It’s a visually stunning experience, with such attention to detail that I never thought running through a field of digital cauliflower on a windy day could be so freaking satisfying.

I haven’t yet had the opportunity to work on a game with such an extensive play time, but as game developers, I feel like we’re always searching for the things that make for compelling gameplay. And while I don’t share the same love of Minecraft with my children, in which they’ve logged far longer than my measly 300+ hours of Coral Island, I feel like an articulated list of key considerations might be helpful, and could have been alternately titled as, “Maximizing the Feeling for Getting Fantastically Lost in a Game World: A Narrative Designer’s Wish List”.

Customizing your character’s aesthetic look and player name goes a long way in making the player feel like they’re part of the story world. Every time an NPC says, “Thank you, Deb!”, I’m like, “You’re welcome, NPC, whose name I wouldn’t remember if it wasn’t in the character name label.” Player agency over how they appear can often deepen their connection to the game.

Ensure that there’s a purpose for all dialogue. For all the effort that goes into planning, writing, crafting choices, asset creation, animation, coding, and localization – don’t give players a reason to skip any of it! Use dialogue interactions and cut scenes to:

– Provide hints;

– Add depth to the story; and

– Direct players to find or build up to crafting items for a longer quest — which should then be an actionable item that adds to a quest list, and not just a suggestion.

Highlighting key words in the text would be helpful in identifying their importance. Mineko’s Night Market does a really great job of this. I found myself taking paper notes, but my Certified Accessible® Player Experiences Practitioner self would recommend working this into a quest journal of sorts.

Meaningful interactions with NPCs deepen the game’s feeling of immersion. I haven’t played the Steam version of Coral Island where you can form romantic relationships with NPCs, so I can’t speak to that. But having heard thirdhand that dialogue can run out with your spouse, I would venture setting the default dialogue to something like, “I love you! My days are so much happier with you in my life.”

Give options to delve into deeper subjects for run-of-the-mill platonic conversations that can then be attached to something like a collector quest.

Example:

NPC: Hello [player name input]! How are you?

You: Great! How are you, [nonplayable character’s name]?

NPC: I could be better.

You:

Option 1: I don’t have time to talk right now, but let’s talk later.

NPC: Sure thing.

OR

You:

Option 2: Why? What’s going on?

NPC: My mom and I fought this morning. It’s my fault. I know a simple apology won’t work. I was thinking about trying to make her this special cake from her childhood she loves so much. But I don’t know where to find any pumpernickelodeonspongebobpantsie flowers.

It’s an opportunity to unfold more of the story and develop characters, especially when players feel more invested while contributing to the story.

Item/craft quests should offer more significance than a mere errand.

Example:

Accept pumpernickelodeonspongebobpantsie quest: Yes / No

Coral Island has beautiful set dec, such that players can enter almost every NPC’s delightfully furnished home. Other than for the currency reward, which at this point in the game, I don’t need, it feels like a lot of effort to find or harvest the requested item, track down the NPC, give them the item, have them acknowledge it, and then there’s no other interaction or mention of it.

Previous interactions are reflected in future interactions.

Example:

After completing the pumpernickelodeonspongebobpantsie flower quest, dialogue alludes to the NPC’s healed relationship with their mother, thanks to your efforts.

Anything new really hypes that reward instinct.

I don’t think I really need to elaborate on this, but getting a magical greenhouse or discovering merpeople was worth the lack of sleep and staying up a little, nay … a lot longer.

Understanding that the revenue model varies for such games, I do realize that my playing a premium download sim game carries a finite amount of gameplay and there is no obligation on the developers’ part to extend that past a main storyline. The thing is that many games are scoped with collector quests that offer the kind of extensive gameplay whether the Player feels like it’s grinding or just a fun place to chill and go fishing. But in the sea of games offering very similar types of experiences (like the upcoming Hello Kitty Island Adventure with its beach, mines, recipes, room decoration, etc.), creating emotionally meaningful connections go a long way in crafting a memorable experience. And that’s something every studio wants … at least until it’s time to release a sequel.