Resident Evil Veronica is officially in development and scheduled to release in 2027, bringing one of the franchise’s most important stories into the modern era. While Resident Evil 2, 3, and 4 have all received the remake treatment, many fans viewed Code Veronica as the missing piece of the puzzle.

Originally released in 2000, the game follows Claire Redfield as she continues her search for her brother, Chris Redfield, after the events of Resident Evil 2. What begins as a rescue mission quickly spirals into another nightmare involving Umbrella, the Ashford family, and the return of Albert Wesker, whose role would go on to shape the future of the series. This game was one of the amazing titles playable on the Dreamcast.

Capcom’s reveal trailer didn’t give away much, but it did confirm that the game is being rebuilt using the RE Engine and is targeting a 2027 release window. That’s enough to get longtime fans excited.

What makes this announcement so significant isn’t just the remake itself. It’s the fact that Veronica is one of the most important chapters in Resident Evil lore. For players who started with Resident Evil 7, Village, or the recent remakes, this is a chance to experience a story that helped bridge the gap between the classic survival horror era and the action-heavy years that followed.

After years of rumors, wish lists, and fan campaigns, Capcom is finally giving Veronica its moment. And judging by the reaction online, it’s safe to say this was one remake fans weren’t going to stop asking for.

That is why Star Wars Zero Company caught my attention so fast during the Games Fest showcase. Finally, we have something that looks like it understands the assignment. After watching the gameplay trailer, it gave me exactly what I wanted to see as someone who likes Star Wars, loves tactics games, and has been waiting for another game to scratch that XCOM itch.

I know a lot of fans are hoping for XCOM 3: Terror from the Deep, but it looks like we may get XCOM 3: Deep Space in a Galaxy Far, Far Away. And I am 100% okay with that.

What stood out to me was the way it moved. The gameplay looked fluid, stylish, and more alive than tactics games usuallt look in trailers. Characters moved with personality, abilities had impact, and the squad looked fun and diverse. With the newer XCOM games, the visuals mixed with the solid gameplay are the sauce.

I’m not gonna lie, if my clone trooper misses a 95 percent shot on a battle droid standing in the open, I’ll lose my mind. But then we will know it’s a real XCOM game.

The Star Wars side of this makes a stupid amount of sense. Zero Company is set near the end of the Clone Wars, before the Empire fully takes shape, which is probably the smartest window for this kind of game. You get clones, Jedi, droids, Mandalorians, mercenaries, Separatist threats, and all the shadow-war craziness. It gives the game room to feel familiar without just turning into another Rebels-versus-Empire story.

The Clone Wars already feels like a tactics campaign: small squads, dirty missions, strange alliances, specialists with different roles, and commanders making bad calls under pressure. Star Wars has been sitting on this kind of setup forever, so part of my reaction was, why has this not been done already?

It made me think about other universes that could pull from the same formula. Halo, Mass Effect, and more Marvel tactics games all feel like easy fits if someone actually commits to the XCOM structure. Squad identity, battlefield roles, upgrades, injuries, consequences, and a campaign that makes you care about the people you are sending into bad situations. It would just make sense.

So far, we have seen gameplay, but it is not a full combat deep dive yet. I still want to see how missions are structured, how smart the enemies are, how much variety there is, how difficulty works, and whether the tactical layer holds up across a full campaign. We can only hope this becomes one of those “one more mission” games where you look up and realize it is 2 a.m.

We’ve been duped before, though.

Phoenix Point was the head-scratcher for me. It had the pedigree, the hype, and the “this could be the next XCOM” energy, but it never fully clicked. It was interesting in theory, but overall, it felt more ambitious than satisfying. That is why Zero Company got my attention. It is not just borrowing the shape of XCOM. From what they showed, it looks like it understands XCOM.

Zero Company probably won’t be a true XCOM 3. I bet it plays closer to something like Chimera Squad or Midnight Suns, with more emphasis on character identity, squad composition, and missions. The trailer showed what looked like permadeath, and once characters can actually be lost, every bad call matters more, unless you love save-scumming. That fear of losing a high-ranking powerhouse character is where tactics games start getting personal.

Right now, I am cautiously optimistic. But from what I have seen, Star Wars Zero Company is probably a day-one buy for me. It has the right universe, the right genre, the right timing, and enough XCOM energy to make tactics fans pay attention.

It’s got a 95 percent chance. Let’s see if the shot lands.

The GO link line has always been about squeezing real audio performance into something small enough to forget about in your bag. The 2 Max picks up where that left off and adds hardware that makes it genuinely interesting. Inside, there are dual ESS Sabre DACs, not a single chip doing the work, but two. That gives iFi more headroom on noise and separation. It supports up to 32-bit/384kHz PCM and native DSD256, which covers everything short of formats most people will never encounter in the wild.

The output power is the thing that matters most for usability. At up to 241mW, the GO link 2 Max can push harder than a typical dongle to drive headphones that would normally struggle. That includes IEMs with lower impedance and sensitivity, but also some fuller-sized cans that normally demand a more serious amp. Whether you are commuting with a nice pair of over-ears or using a premium IEM at your desk, it should have enough power to drive them properly.

iFi has baked in Dynamic Range Enhancement, which they say adds up to 6dB of additional dynamic range. The S-Balanced technology is there to reduce crosstalk between channels, which shows up in listening tests as cleaner stereo imaging rather than a number on a sheet. THD compensation brings distortion down more than 50% compared to the previous GO link generation.

For Android users, there is app support through iFi’s Nexis app. That means OTA firmware updates and the ability to switch between digital filter presets. That kind of user control at $85 is unusual.

The form factor is USB-C. No charging required, no adapters for modern devices. Plug it in and the signal routes through it automatically.

At $85 USD ($129 CAD), the GO link 2 Max sits above the crowded budget dongle market but well below the territory where you are committing to a full desktop setup. For anyone using phone audio as their primary listening source, or who wants a real upgrade over a laptop’s built-in headphone output, this is the price range where the conversation gets interesting.

Review samples are available. If you want to try one before buying, watch this space.

The centerpiece of the lineup is the PRO MAX 80 desktop. It’s a compact tower built for work and home office use, with support for up to Intel Core Ultra processors and discrete GPU options. It won a Red Dot Design Award this year, which matters more as a signal about build quality and aesthetics than as a spec you’d put in a comparison chart.

There are also two all-in-ones: the PRO MAX 24 and PRO MAX 27. The 27-inch version is the one worth paying attention to if screen real estate is a priority. Both run quiet, lean into the clean desk aesthetic, and are aimed at users who want a capable machine without a tower taking up space.

On the display side, MSI announced two QD-OLED monitors built specifically for Mac users: the PRO MAX 271UPXW12G (27-inch, 4K) and a 34-inch ultrawide variant. These are not afterthoughts. The 27-inch model runs at 166 PPI, includes Pantone Validation, and ships with a DarkArmor anti-reflective film that MSI says cuts glare without killing the contrast that makes OLED worth buying in the first place.

The Mac-specific angle is in the connectivity. Both monitors include dual USB-C ports running at 98W and 15W respectively, a 3-device KVM switch built in, and MSI’s M-Mate App for macOS that handles the kind of system integration Mac users expect. Switching between a MacBook and an iPad or iPhone dock situation without a mess of cables is the sell here.

Pricing and availability haven’t been confirmed yet. We’ll have more once MSI locks in the details post-Computex.

The headline is the panel technology. MSI is calling this the world’s first 27-inch WQHD display with a 5-layer QD-OLED Penta Tandem stack. That layered structure is how they’re hitting a 320Hz refresh rate and a 0.03ms response time without the brightness or longevity tradeoffs that have held OLED monitors back in gaming contexts.

For anyone keeping score: 320Hz at 2560×1440 on a 27-inch panel is a combination that hasn’t existed in OLED before. The typical compromise has been either high refresh on a lower resolution or OLED quality at 144Hz. This pushes both at the same time.

The display carries VESA DisplayHDR True Black 500 certification and QuantumView verification, which are the two certifications that actually mean something for color accuracy and HDR performance. DarkArmor anti-reflective film is also included, same as on the Mac-focused PRO MAX displays MSI announced at the same show.

No pricing announced yet. MSI will be showing it live on the Computex floor starting today. If the panel technology delivers what the spec sheet promises, this will be one of the more interesting monitors of the year for anyone building a high-performance gaming setup around an OLED display.

MSI provided information for this article ahead of the Computex 2026 announcement.

Google seems to have worked that out.

At Google I/O 2026, the company revealed a partnership with Gentle Monster, the Korean eyewear brand that has spent the last decade building a reputation for bold, fashion-forward design. The glasses are also a collaboration with Samsung on the hardware side. The goal is a pair of smart glasses you would actually want to wear out in public, not just tolerate.

The specs are solid. Built-in speakers, a camera, and microphones for music, calls, and photos. Google Gemini integration for real-time assistance, turn-by-turn navigation, and live translation. Gemini can also handle more complex tasks on the fly, like editing a photo or placing a delivery order, just from a voice prompt.

But the real pitch here is the design. Gentle Monster is not a brand that makes safe choices. Since 2011, they have built their identity around unconventional eyewear and immersive retail experiences, and that instinct carries into how these frames look. The first design was revealed at I/O today, with a full collection arriving later this fall.

Pricing sits between $379 and $499, depending on the frame style.

That puts them up against Meta’s Ray-Ban collaboration, which has proven there is a real market for glasses that prioritize looking good over looking techy. The difference is Gentle Monster brings a harder, more distinctive aesthetic than Ray-Ban’s classic styles. The target audience is a bit more specific because of it, but that specificity is the point.

Whether the Gemini integration holds up in daily use is the real question. Navigation and translation are only useful if the AI keeps pace with how fast life actually moves. That is something you find out with time on your face, not in a press release.

The full collection launches later this year.

PS6 is coming. Sony knows that a portion of its player base has been content to wait for PlayStation exclusives to arrive on PC rather than buying the console. That was an acceptable trade-off during a period when Sony was trying to grow its PC revenue and establish a presence on Steam. It is a less acceptable trade-off when you need people to buy a new console. This and the potential threat that was Project Helix that is coming from Microsoft and having a more open PC format and being able to play games from multiple libraries means Sony’s games for PC could end up on their console.

The numbers from the PC ports have been mixed. Some titles performed well. Others underperformed expectations in ways that made Sony reconsider the value of the window between console launch and PC release. The shorter that window gets, the more it cannibalizes console sales. Sony appears to have concluded the calculus does not work in its favor, at least for now.

From a business standpoint, this is a defensible position. Console sales drive the hardware install base. he hardware install base drives software attach rates, PlayStation Plus subscriptions, and PlayStation Store revenue. If PC porting is eating into that, pulling back makes sense in the lead-up to a major hardware launch.

From a PC player standpoint, it is a straightforward loss which I myself will sorely miss. A portion of Sony’s catalog that was moving toward accessibility on the platform is now moving away from it. The goodwill Sony built with the PC community over the last three years takes a hit but fans are praising as stating this is good for the brand and good for brand loyalty, something XBOX is now trying to fight its way to gain back.

It’s worth noting this isn’t Sony stepping away from PC entirely. Mutliplayer and live service games may still have plans to hit PC while single player experience games won’t but potentially and most likely exclusivity windows get longer, not that ports disappear. The question is how long. Six months to a year is one thing. Three years is another.

This is not a surprise move. It is a predictable one from a company preparing to launch a new console in a crowded market. The timing, landing right as PS6 speculation picks up, is probably not a coincidence.

The game is set in Japan, and if you’ve been watching the early reviews come in, the reception has been about as good as it gets. Metacritic is in “universal acclaim” territory for the Xbox Series X|S version. That 

The map is the big talking point. It’s the largest Playground Games has ever built for the series. The Tokyo city section alone is reportedly five times bigger than any previous Horizon city area, and critics are calling it the most detailed drivable space the franchise has produced.

The new gameplay addition worth paying attention to is Touge battles. These are one-on-one races up winding mountain roads at night, with live traffic and no barriers. The higher the difficulty, the more genuinely tense they get. Reviewers have singled these out as the most interesting thing added to the Horizon formula in a long time.

The wider package is still recognizably Horizon. Playground haven’t reinvented anything, and if you were hoping for a dramatic overhaul of how the series works, you won’t find that here. But the Japan setting is something fans have been asking for since the series launched, and by most accounts, Playground got it right.

The Game Pass situation is worth underlining. If you’re already paying for Xbox Game Pass or PC Game Pass, Forza Horizon 6 is in your library right now. No additional purchase needed. For a new release of this size, that’s a genuinely good deal.

Early access opened on May 15 for Premium Edition buyers, and the game had already reached 1.4 million players before today’s wide release. Steam pre-sales alone reportedly hit 500,000 copies a month before launch. The audience was clearly ready.

A PS5 version is coming later in 2026, though no specific date has been confirmed by Microsoft.

If you have Game Pass and any interest in racing games, there’s no reason not to check it out today. If you’ve never played a Horizon game before, this is a strong entry point. And if you’re a long-time fan who’s been waiting for Japan, it sounds like the wait was worth it.

The leverless controller feels like a premium piece of gear. It’s compact, but wide enough to sit comfortably on your lap, and it’s built around a sturdy plate that keeps it planted when things get frantic. In the box you get a right-angle USB-C braided cable and a dual-compartment hard shell case that makes it easy to travel with. There’s also a thoughtful ergonomic slope where your wrists rest, which helps more than you’d think during longer sessions.

On the left you’ve got a slanted WASD-style directional cluster, and on the right you’ve got a 10-button action layout arranged in two rows. Up top there’s a row of secondary buttons for things like start, select, home, and profile switching. The whole format feels like “fighting game first,” but not “fighting game only.” It’s closer to a keyboard-meets-arcade hybrid than a standard leverless slab.

The signature feature is the pair of hall effect “thumb domes.” Instead of traditional analog sticks, SWORL uses domes that your thumbs can nudge for analog control, and hall effect sensing is the reason they feel smooth and stay consistent over time. That analog element is what opens the controller up for more than just fighters. For casual play in adventure games, platformers, older arcade titles, and even some menu-heavy games, having analog control available makes the whole experience feel less rigid than most leverless options.

Another technical win is the switches. SWORL uses hot-swappable MX-style sockets, which means you can change switches without needing to solder. If you care about the exact feel of your presses, that’s huge. One note from the more technical deep dives though: the stock keycaps and travel can feel a bit longer and louder than ultra-low-profile leverless controllers. It’s not a deal breaker, but it’s worth knowing if you’re coming from something like a super snappy micro leverless and you’re expecting the same short throw and muted bottom-out.

Customization is strong and honestly one of the main reasons this works across different games. You can create multiple remapping profiles and switch between them without needing to live inside a software menu every time. There’s also a web-based configurator that lets you go deeper. I like it overall, but I still wish there was a dedicated downloadable desktop app so you’re not relying on a browser for everything. Profiles are still a huge win, especially if you like keeping one layout for fighters, one for casual single-player, and one for general navigation.

One more technical detail that’s useful to understand is that there are two versions of SWORL, and they’re not identical under the hood. The Multiconsole model uses a Brook Gen5X board for broader console compatibility, while the Basic edition uses a modified GP2040-CE approach. Internally, the setup also relies on a secondary PCB acting as an interpreter for remapping and profile behavior. The practical takeaway is simple: it’s built to be flexible, but firmware and software maturity can matter, especially if you’re the type who constantly updates, experiments, and expects every profile feature to be flawless day one.

Junkfood Arcade made a hit with SWORL. It’s a premium-ish price, but it’s also a premium and genuinely unique experience. You get leverless precision, analog-style control through the domes, hot-swappable switches, real profile support, and a build that feels travel-ready. It’s exactly what I’ve been looking for years which is while this review took so long to make. The SWORL’s layout and flexibility match your playstyle and I doubt anyone would walk away disappointed.

While it’s clearly designed for the Apple ecosystem, it’s not locked to it. Qi2 and magnetic charging works well with Android phones and other compatible devices using MagSafe-style cases, making this more versatile than it looks at first glance. Charging is reliable on both the magnetic and flat pads. The main limitation is the watch charger, which remains Apple-only, but overall this is a well-built, dependable charging station that balances convenience, portability, and cross-device compatibility.