Game of Thrones actress Sophie Turner has suggested she was one of the few cast members happy with the fate of their character following the series' divisive final season.
Speaking to The Direct, Turner was asked whether she would consider returning to George R. R. Martin's fantasy world for a future spinoff, following remarks by the author which revealed that sequels set after the Game of Thrones' finale were being considered.
In response, Turner said she had mixed feelings about returning, though admitted she had personally been pleased with where her character Sansa Stark had been left — something that apparently was not the case for many of her former co-stars.
"I feel that I was very happy with the way Sansa ended her story in Game of Thrones, and no one else was really happy with their ending," Turner said. "I feel like I got a good one, and so I don't know if I could revisit it." Game of Thrones' finale saw Turner among the series' survivors, and officially recognized as Queen of the North. Not all characters were so lucky, however, and several cast members have previously expressed dissatification with how their stories ended — such as Varys actor Conleth Hill.
"Maybe it would be an utter joy, or maybe it would be trying to cling on to something that was magic back in the day that can't be recreated," Turner continued. "I would have to see a script."
While Game of Thrones finished several years ago, George R. R. Martin's fantasy franchise is still going strong — with even more spin-offs on the way. In November last year, the author said there were "several in development, five or six series" and that while most were set prior to the events of his best-selling book series, there were also "some sequels."
And, of course, HBO has already announced big plans to continue its existing slate of spinoffs through until at least 2028. Last month, HBO laid out a Marvel-style slate for the coming years, and confirmed it had already renewed upcoming spin-off A Knight of the Seven Kingdoms for a second season in 2027, ahead of its first season debut on January 18, 2026. House of the Dragon Season 3, meanwhile, debuts in summer 2026, with Season 4 set for 2028.
Turner's comments differ from the reaction of her former Game of Thrones co-star Kit Harington, who was recently asked whether he'd return again as Jon Snow. "No, god no," Harington told Variety. "I don't wanna go anywhere near it. I spent 10 years doing that. Thanks, I'm alright."
Photo by Marc Piasecki/WireImage.
Tom Phillips is IGN's News Editor. You can reach Tom at tom_phillips@ign.com or find him on Bluesky @tomphillipseg.bsky.social
Stranger Things star Sadie Sink has offered her interpretation of Eleven’s ending in the wake of the finale of Season 5.
The biggest talking point coming out of the Stranger Things finale relates to the fate of its central character, Eleven, played by Millie Bobby Brown. Stranger Things ends with a definitive wave goodbye to all the central characters except Eleven, who appears to sacrifice herself to ensure she cannot be used to create super weapons, another Vecna / Henry, or another bridge between our world and The Abyss.
18 months after that traumatic event, we see the central characters meet up for graduation and say their goodbyes. It’s at this point that Mike Wheeler, played by Finn Wolfhard, has a thought: what if Kali Prasad, also known as Eight (Linnea Berthelsen), used her dying breath to create the illusion of Eleven’s death, leaving her free to escape unseen?
Mike teases this revelation to the Dungeons & Dragons group as their final campaign comes to an end, suggesting Eleven cooked up a plan with Kali to fake her own death, then traveled to a far away small village — bordered by three waterfalls — to live out her days in peace. But this ending is unconfirmed. Mike and the others choose to believe it, and it’s left up to the audience to decide what they choose to believe as Stranger Things finally comes to an end.
In an interview with Josh Horowitz, the Duffer Brothers confirmed they wrote the story knowing the truth of Eleven's fate, which they’ve told to only one cast member: Millie Bobby Brown herself. So that means Sadie Sink, who played Maxine "Max" Mayfield, does not know the Duffer Brothers’ truth, leaving her to interpret the events of the ending just as fans are.
Appearing on The Tonight Show Starring Jimmy Fallon, Sink was asked for her take. Replying, she said she does indeed think Eleven is dead, and Mike’s story and the Dungeons & Dragons crew choosing to believe in it is part of coping with her death.
“I think she's dead,” she said. “Is that like a hot take or something? I think Mike's story is like just one last story, and that's like — then they say goodbye to childhood. But that's just one final tale, and that's it.
“I think it's just like a coping thing. I think it's stronger, right? That's my interpretation.”
So there you have it: Sadie Sink thinks Eleven is dead, even if her character believes she’s alive.
In the Josh Horowitz interview, the Duffers revealed that they did explore the possibility of Eleven having a “full happy ending” where she ends up married to Mike, living a happy life with the government off their backs and the lab experiments ended for good, “and we just couldn't figure out a way for that to work.”
In a Netflix Q&A published as the finale aired, Ross Duffer went into more detail on the thinking behind the Stranger Things ending: “there was never a version of the story where Eleven was hanging out with the gang at the end. For us and our writers, we didn’t want to take her powers away. She represents magic in a lot of ways and the magic of childhood. For our characters to move on and for the story of Hawkins and the Upside Down to come to a close, Eleven had to go away. We thought it would be beautiful if our characters continued to believe in that happier ending even if we didn’t give them a clear answer to whether that’s true or not. The fact that they’re believing in it, we just thought it was such a better way to end the story and a better way to represent the closure of this journey and their journey from children to adults.”
“And the reality is, if Eleven is out there, the most that they could hope for is a belief that it’s true because they can’t be in contact with her,” Matt concluded. “Everything falls apart if that were the case. So if that’s the narrative, this is really the best way to keep her alive. And it’s about Mike and everyone finding a way to move past what’s happened.”
Wesley is Director, News at IGN. Find him on Twitter at @wyp100. You can reach Wesley at wesley_yinpoole@ign.com or confidentially at wyp100@proton.me.
Nvidia announced DLSS 4.5 at CES today, an update to its deep learning super sampling (DLSS) feature that improves image quality on all RTX graphics cards now and extends its frame generation abilities on RTX 50-series cards in the future.
The fidelity and stability improvements come thanks to a second generation of the Transformer model that Nvidia introduced with DLSS 4, which has been trained on a significantly larger dataset and uses five times the compute power. That translates into noticeable improvements how well challenging scenes are rendered, reducing artifacts like ghosting and shimmering, and impoving anti-aliasing.
These changes are rolling out with the GeForce 591.74 driver that's available for download now. The Nvidia app recently gained the ability to automatically upgrade older DLSS versions in many titles, so you can give DLSS 4.5 a try right away in 400+ supported titles. Note that you will need to opt into the new Nvidia app beta in Settings > About after installing the new driver to see the DLSS 4.5 option.
Kingdom Come: Deliverance 2, The Elder Scrolls IV: Oblivion Remastered and Indiana Jones and the Great Circle are called out for specific improvements, but I'm fascinated to see if Clair Obscur: Expedition 33 will see any significant upgrades just before I dive into its recent Thank You update.
The other major upgrade is exclusive for GeForce RTX 50-series owners, and is set to come this spring in the form of an expansion of Multi Frame Generation. In short, 6x Multi Frame Generation means that it will be possible to generate five intermediate frames for every traditionally rendered frame on Nvidia's latest graphics cards, boosting framerates higher than the previous 4x limit allowed. Nvidia says that the update is designed for high refresh rate monitors at 240Hz or above – including the new 360Hz ultrawides announced at CES.
As well as manually setting frame generation to 2x, 3x, 4x, 5x and 6x, it'll also be possible to leave that decision to the graphics card instead. Essentially, you will be able to set a target framerate in the Nvidia app (like 240fps for a 240Hz monitor), and your graphics card will dynamically adjust the number of frames being generated as the base framerate ebbs and flows in line with scene complexity. That should deliver a consistent framerate, rather than dealing with unneeded generated frames (and input lag) when they're not needed, or suffering from a more visually choppy experience when base framerates drop too low.
Third-party tool Lossless Scaling was the first to release an adaptive frame generation mode back in March 2025, so it's nice to see Nvidia recognise the demand for such a feature.
Nvidia's other CES 2026 announcements include DLSS 4 confirmations for 007 First Light, Phantom Blade Zero and Pragmata, amongst others, upgrades to the RTX Remix modding tool, a range of Nvidia G-Sync Pulsar monitors with 'over 1000Hz effective motion clarity', and new GeForce Now apps for Linux and Amazon Fire TV.
Will is deputy tech editor for IGN, specialising in PC hardware, sim racing and display tech. He has been publishing about games and technology since 2001 (age 12). Will was formerly Deputy Editor at Digital Foundry. He is currently playing Clair Obscur: Expedition 33.
If you've been wondering if TV executives have spotted Arc Raiders' rip-roaring success, wonder no more — "many" have already reached out to the development team to discuss making a TV series or movie.
While Embark boss Patrick Söderlund was coy about the details, he did admit that numerous companies had been in touch in hopes of making a movie or show about "this IP," adding that Arc Raiders "fits quite well" for a game-to-TV adaptation.
"I can’t tell you how many companies have reached out to us wanting to make a TV series [and] movie out of this IP," Söderlund told GamesBeat.
Asked if he'd been "tempted" to take up any of the offers, Söderlund admitted he had, but did stress: "We [wouldn't] mind doing that. It would be fun, but it needs to be done in the right way. I hope that we will do that. I think the IP fits quite well with something like that." As yet, though, while there is a team of writers working at Embark, the studio doesn't "have anyone working on a TV or film adaptation yet." And he did stress that "yet."
If you've been finding it a little trickier just lately, that may be because you play a lot of PvP — Embark Studios recently confirmed one of the community’s biggest questions since the game came out: it does indeed feature ‘aggression-based matchmaking.’
Vikki Blake is a reporter for IGN, as well as a critic, columnist, and consultant with 15+ years experience working with some of the world's biggest gaming sites and publications. She's also a Guardian, Spartan, Silent Hillian, Legend, and perpetually High Chaos. Find her at BlueSky.
Last year, I had the great pleasure of attending the Games Industry Conference (GIC) in Poznań, Wielkopolska, where I sat in on a number of talks about game development and craft. In one of those talks, given by Petr Nohejl, devops programmer for Warhorse Studios, I heard a fascinating anecdote that got me thinking about the silliness of video games, and the lengths testers go to in order to ensure they run smoothly for players.
Nohejl’s talk was about Kingdom Come: Deliverance II and the challenges faced by programmers trying to debug the game, resolve crashes, and deal with gameplay hitches. It was far deeper and more advanced than the bit I’m presenting here, and admittedly pretty over my head in terms of technical specifics, as I’m not a game developer myself. But at one point, he was talking about setting up simple, repeatable scenarios in-game that can be tested automatically, and gave the following example:
There are some test rotations, so you just spawn the player, you wait, you as I mentioned…and then the player rotates a few times. So it just loads up all the stuff, the streams. And we have these random rotations all around the maps. So the rotation test just like teleports and performs the rotation on thousands and thousands of places on the map. And then we have actually a heat map of the whole rotation test.
Essentially, Nohejl is describing what I am told is a quality assurance test where the player is spawned in, they spin around a few times in place, and that’s it. I am told by several individuals I spoke to with QA experience and expertise that this is a very common test and, to most QA professionals, probably pretty boring. But to me, who’d never considered the granular specifics of what went into testing games, it was hilarious.
In the wake of this discovery, I put out a call on social media and through various PR contacts for QA professionals to share their most ridiculous game testing stories: essentially, what’s the silliest thing they’ve had to do to test something in a game? What came back was a delightful flood of anecdotes ranging across AAA blockbusters to small indies, canvassing a decade or more of game development. I am now thrilled to share these stories with you in hopes that you find the goofy incidentals of QA testing as funny as I do.
Shootin’ the Breeze
“While testing Unreal II for Xbox, if we angled our gun upwards by 45 degrees and shot the assault rifle at the bridge strut as we walked across it, the game would consistently crash. We tested that stupid bridge for weeks.” -Ben Kosmina
“When I was on Overwatch I had to test to make sure that the materials on the various surfaces were set up properly for hit effects. For example, when shooting wood it would sound like wood was being impacted instead of metal. There are a LOT of materials and surfaces in the various levels, but I had access to the editor tools so I actually made a testing hero to help make things easier. It was basically Widowmaker with a 1s cooldown on her hookshot, Hanzo's wall climb ability, and an expanded magazine size so I could shoot more freely. I also gave myself like 10x movement speed and the ability to toggle the bullet sounds on and off so I could hear the impacts better. Then I proceeded to methodically run around every map shooting every unique material surface to make sure they were making the right noises. When I moved off the team I was chatting with one of my friends and he was saying he still used that hero for testing, which made my day.” -Andrew Buczacki
“[On] Anno 2070, I had to do a series of tests and videos for the USK rating board. Spent several days dropping nukes over and over, zooming in to the little people showing that it wasnt graphic. Had a whole video & Images folder of a mother with a baby buggy no-selling a direct nuke at different angles.” -Ruairí Rodinson, Rho Labyrinths studio head
Inventing a Guy
“Hello! The whole story is a bit more complicated. The NPC in Mental Refreshment [in The Outer Worlds 2] was actually my 1st encounter with a peeing NPC and I thought that, for some reason, the invisible collision is the intended behavior displayed by a urinating NPC. Then, some days later, I saw an NPC performing an unfamiliar animation.
“I curiously walked up to him and, to my great surprise, he was peeing! At that moment the confusion started. ‘Why does the game let me get so close to him?’ ‘I couldn't even dream of coming this close to the other peeing NPC!’ And so, the investigation has begun.
“After bothering a few other innocent pissing NPCs it turned out that my fundamental assumption that NPCs are supposed to be shielded while relieving themselves was wrong! I dutifully reported the excessive collision on the mentally refreshed subject and now the User can peacefully watch him do his business from up close.” -Aleksander Gozdzicki, FQA Tester, QLOC, The Outer Worlds 2
“So I was a programmer rather than QA, but I remember having to get creative when I was testing some of my code on Kinect. I had some code that was meant to detect someone making air guitar motions, and I had to shove my hoodie up my T-shirt in order to check that it would work with pregnant people.
“When testing the 'new user' Kinect login sequence we had to wear carnival masks to stop it from recognizing us.” -Tim Aidley
“On Saints Row we had a debug npc named Skinballs (lol) that was literally just four spheres wrapped in different shades of skin texture so we could test lighting for different skin tones during development…teams need to plan for that kind of testing with intentionality, and not enough do.” -Elizabeth Zelle
“My favorite example of this was ‘The Carwash’ on Mortal Kombat (X? 11?) where a T-posed character would slowly move through a series of particle emitters, each one causing a specific type of damage - cuts, stabs, burns, gashes, ice, etc. so we could test damage models on characters.” -Daanish Syed, former Netherrealm Artist
“We used placeholder characters earlier in Sunderfolk’s development whilst character art was still pending. One in particular was a free character model from Adobe’s Mixamo site called ‘Brute’ which was essentially a large oily barbarian. He was regularly used to fill in the board and for cinematics to see how animations look and function. Affectionately named Oily Man, we still use him in-engine for hero spawn indicators in the encounter designer. Oily Man lives on!” -Ali Tirmizi, Sunderfolk QA Lead at Secret Door
WoW!
Andrew Buczacki graciously supplied me with a number of anecdotes from his time on World of Warcraft, which I’ve included all as one chunk for the WoW fans in the room:
“When testing the final boss of the Icecrown raid in Wrath of the Lich King, we had a bug where Frostmourne (the Lich King's sword) didn't appear in cinematic on a specific hardware configuration. They mobilized the entire QA floor for WoW to test every permutation of graphics setting, resolution, etc. to see if it was happening anywhere else. By the end of the testing day we had all watched the cinematic (and seen most of the raid fight), to the point where many of us had memorized the monologues and the cinematic. You'd randomly hear "Bolvar!" for months after.
“Also on that fight, I was assigned a hotfix where one of the AoEs the boss did was supposed to expand 15% faster. There were no good precise measuring tools so my friend and I set up a ridiculous testing contraption involving engineering smoke flares, a hunter pet, and liberal use of in-game cheats. At the end we were able to verify that it was at least expanding faster, although I argue we got a degree of precision that probably wasn't necessary by the end.
“Old time WoW fans may remember that over the course of a few patches the shoulderpads on some race/gender combos (male Orcs most notably) shrunk. This was eventually caught and fixed, but to make sure it didn't happen again one of the tests my team ran was to look at a fixed gallery of character models wearing various equipment on the current version and the newest build. We had an automated script that would log in and take pictures from fixed angles and equip the same things so we could compare screenshots to make sure that everything stayed the same size.
“Once I had to test and verify that the ‘Win a loot roll with a 100’ achievement was working. To do this I went to Onyxia's Lair (a popular sandbox for QA), and after not winning the lottery and winning loot with a 100 on Onyxia I spawned in about 100 raid bosses at once with god mode on. Then I used super powerful AoE cheat spells to kill them all and began the laborious process of looting and rolling on all of them. The achievement totally worked, by the way.”
CAN you pet the dog?
“So here's something that I'm pretty sure most people don't ever think about: Testing "Can you Pet the dog?" in games. Like, it's a feature a lot of people look for and adore in video games, but I don't think your every day average person realizes that, as cute as it is, it took people HOURS upon HOURS to get it right haha. So in Demonschool for instance, when you pet the dog, you'll get unique dialogue per interaction. The dog can also be found on different maps and depending on the date and how many times you've pet him, he might move to different locations. If you sit there and let Faye pet the dog, the camera will (very) slowly zoom in to give the player a better view of it.
“At one point in development, we came to find out of that one of the random softlocks we were encountering was actually tied to the adorable, lovable action of petting the dog. This meant that we had to spend HOURS testing every possible variable of petting the dog. Every location it showed up in, every dialogue string attached to it, every date it was available to pet. We'd skip petting it certain days and in certain locations to try to mix up where it appeared in the game on different dates to see if THAT was causing the issue. We had to make sure that the slow camera zoom was working on each and every map that the dog can appear on, and every VERSION of those maps (day, evening, and night).
“So what ultimately should be a fun, cute little easter egg that pretty much every random player enjoys seeing in a game, ended up becoming hours and hours of work behind the scenes to make sure it worked just right and wouldn't softlock the game for everyone haha. And after tons of hours and hundreds of pets, we can now all happily pet the dog without issue!” -AJ McGucken, lead QA at Ysbryd Games
Make Some Noise
“One time when I was doing audio for god of war, we had put a sound of a frog croaking on the frog asset. Well, one of the level designers took that frog and COVERED an island in them. So I had to make a JIRA ticket to kill frog island.” -Shayna Moon, senior technical producer
“Off the top of my head, I found a bug working on New Super Mario for Wii that was at the start screen. The game shows the title and plays a little song. At the end of the song, it transitions to "demo" footage of Mario &co jumping around. If you press start, you are taken to the starting menus (new game, load game, options etc) IN THEORY, but if you happen to press start at the EXACT moment between the two states of the start screen, the game instead hard locks and must be force-restarted.
“So, every day we got a new build, I had to regress this bug by sitting at the start screen and trying to press start at exactly the right moment. If it didn't lock, I had to back out and try again. It was extremely tedious and difficult to get right, proving a negative. Another tester was a little better at the timing than me so we would do this together every morning, just pushing start, for hours, like the world's worst rhythm game.” -Anonymous
In addition to all the anecdotes I received for this piece, I also conducted an interview with Camden Stoddard, audio director at Double Fine working on Keeper. Stoddard chatted with me about the complex process he went through to get Twig, the bird, to sound exactly right, which included a lot of strange testing practices.
The emotional bond between Twig and the Lighthouse in Keeper was critical to the game, so Stoddard spent a lot of time testing different things to get the communication between the two just right. He tried actual bird sounds and recordings and libraries. He tried using a foghorn with the Lighthouse, "which no matter what you do, a foghorn doesn't get that emotional," he said. So he muted the Lighthouse, which worked out better, but there was still the matter of the bird, Twig. I'll let Stoddard take it from here:
"I wasn't reaching it with the recordings of birds. So I just started studying how a bird talks, and it turns out their larynx is unique in nature. They have two. They have an avian larynx where they have a lower one called a syrinx. And basically, that means that their pitch control and their pattern control is ridiculous. They can just do things that most animals cannot with their voice.
"So I started thinking about that. I'm like, 'Well, okay, this bird is way beyond the emotional tone of an actual bird. So we need a human performance here. So how do I make a human sound like a bird?' So I just started fooling around with my own voice, and I wound up finding this software that was meant for electronic music. It was from an electronic group in Europe.
"And I had used it before, but what was interesting about it is a lot of things you can adjust, pitch and things like that, but this, you could adjust the harmonics trail. That was what was interesting. And as soon as I put my voice through it and I started messing around with it, I became a bird. My voice just started sounding like a bird, which made a lot of sense.
"So I started experimenting with, I would do the performance as the bird. I started studying how birds communicate, and then I started thinking about, "Okay. Well, if I can have the sound of the bird, but I can have the emotional punctuation and pattern that we want emotionally, then I think we got it nailed." So over about two years, I finally got how to do Twig. And the hard part on me was, the best way to do Twig was to inhale while I was doing the sound and not exhale, because when you inhale, your larynx becomes much more raw and kind of nonhuman-sounding. So if I inhale, you're like... You get this crazy range that you're not used to. And once I manipulated that, that's where Twig came from.
"So then all of a sudden, I became like an actor, and I had to figure out these heavy, heavy scenes, which I hadn't counted on, because it's a very emotional game. There's some heights of anger and sadness and surprise and true existentialism in the end. It's wild. So I not only had to go to the limits of my sound design know-how, I had to figure out how to make this bird very emotional and really care about this lighthouse."
Below is a recording shared with us by Stoddard showing the three-step transformation of his voice from his own bird sounds to the final sounds used in the game. It uses a Granelli SM57 dynamic microphone going through an Avalon 737sp preamp, and various software to edit it, including a combo of Eventide 910 and 949 harmonizers (software) and Manipulator by Polyverse (software). It was all recorded in Pro Tools.
Climb Every Mountain, Drop Every Weapon
"When working on the Mr. X Nightmare DLC for Streets of Rage 4, the team noticed that sometimes, when a player dropped their weapon, it would fall through the floor. We had to drop all the weapons to identify the issue, which turned out to be specific to a single weapon... the swordfish! Perhaps it's a new type of flying fish?" -Laura Peitavi, lead senior QA, Streets of Rage 4 DLC.
"In NINJA GAIDEN: Ragebound, the player character (Kenji) can climb up walls. However, when attempting to grab a wall with a small surface, he would often assume an unnatural position where it appears that he is supporting his entire body weight with a single arm. The level designers at The Game Kitchen could set an "is climbable" property for each wall in the Unity game engine, but there was no way to set this property to false automatically for every short wall found in the game. Therefore, Dotemu's entire QA team had to attempt to grab every single wall in the game in order to find which ones could lead to animation issues so that The Game Kitchen could alter the properties of the problematic walls." -James Petit, QA analyst - Ninja Gaiden Ragebound
A Castle Made of WHAT
“Back in 2022, well before we announced Wildgate, ‘Banana Castle’ was the nickname we gave to this example project that we sent to external vendors so they could help us identify performance bottlenecks in our physics simulation, without revealing what we were actually working on. Using stock Unreal assets, we glued these models together to test our in-game physics.” - Grant Mark, Wildgate technical director at Moonshot
“I had a test level [in The Outer Worlds 2] that was a tower where each room was a different physical material, which meant that some of the rooms had walls/ceilings/floors made entirely of hair or skin.
“Different ‘physical materials’ will have different sound/visual effects depending on the material. For example, if you fire a bullet at a concrete floor, the decal (a bullet hole), the impact VFX (sparks flying or whatever) and the sound effects will be different than if you had fired at the ground on a sandy beach. Footsteps also make different sounds when walking around on these different materials. In addition to things like concrete and sand, we also have physical materials for hair and skin (so that they can have the appropriate response to being shot at or whatever).
“If I wanted to quickly verify that these effects were working correctly it was useful to be able to load into this test level, teleport to the room with the physical material I was looking for, and then I could test for all of these material-specific features by shooting the walls and walking around on the floors and such.” -Josh Ledford, QA analyst, Obsidian for The Outer Worlds 2
Rebekah Valentine is a senior reporter for IGN. Got a story tip? Send it to rvalentine@ign.com.
Resident Evil Requiem will feature gameplay set within a busy city environment, a new Nvidia trailer has revealed — prompting a mixed response from fans.
Comments on today's new Requiem trailer published by Nvidia range from praise for the look of the location to shock at the fact that it exists in a Resident Evil game.
It's fair to say that Capcom's survival horror series has never featured an area like this, with cars driving, and pedestrians strolling down a city street. But today's glimpse is just a glimpse, with a few shots of the area and a brief snippet of protagonist Grace Ashcroft walking along. It remains to be seen how expansive this actually is in-game.
"I am immediately alarmed by this," Resident Evil fan Sakaixx wrote on reddit, after seeing the trailer. "RE Engine and open layout really doesn't mesh well."
"Open world and Capcom don't mix," added another fan, EbolaDP.
Others meanwhile said the city environment looked "gorgeous," and suggested the city was unlikely to be open world — or even much of an open area.
"Bet its just gonna be a 1-minute long sequence where you can only walk forward until you reach the destination/hotel," suggested Carlossless-World. Others, however, pointed to the fact the trailer featured shots of the area during both day and night — though this may simply be to show off Nvidia's tech.
For now, all Resident Evil fans know for certain is that this area is in Requiem in some capacity, after previously being kept out of past trailers and marketing. To date, we've seen gameplay sections far more aligned with Resident Evil's traditional fare: in a dark hotel, and a typically Resi-esque mansion.
Even when Resident Evil has featured urban areas in the past, these have always typically been deserted or partially destroyed, such as in the sections of earlier games set in Raccoon City. To include a section of a city, however small, that looks straight out of Watch Dogs or GTA is eye-opening.
How much of this city area will we get to see? Add this to the list of questions fans have of Resident Evil Requiem, alongside discussion of that ominous-looking mark on Leon's neck that has fans concerned for his future.
Tom Phillips is IGN's News Editor. You can reach Tom at tom_phillips@ign.com or find him on Bluesky @tomphillipseg.bsky.social
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