Details on the next installment of the Assassin's Creed franchise have reportedly been leaked.

According to French site JeuxVideoLive, via Kotaku, the next installment in the series will be called Assassin's Creed Odyssey. Sources confirmed to Kotaku that this next entry in the franchise will take place in ancient Greece and that it will released before the end of Ubisoft's fiscal year 2019, which ends March 31 of next year.

According to Kotaku, Odyssey is set to be an even more significant departure for the series than last year's Assassin's Creed Origins. While Origins altered the combat, Odyssey will introduce dialogue options, a first for the series.

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Jurassic World: Fallen Kingdom is set to take in over $100 million in its domestic debut.

Deadline reports the sequel is currently tracking to make between $130 million to $150 million in its opening weekend. The film hits US theaters on June 22.

For context, the original Jurassic World's pre-week projections had the movie making between $110 million to $140 million in its domestic debut back in 2015. However, the film eventually grossed a then record-breaking $208 million in its opening weekend.

This was eventually surpassed by The Force Awakens later that year, which debuted to an estimated $247 million domestically, according to Box Office Mojo.

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The meteorite at Dusty Divot has been gotten a visual update since Fortnite's latest patch and whatever is inside is starting to show.

Taking a dive into Dusty Divot will show that the giant crater has once again evolved. Small patches of grass with brand new trees have grown around the research facility, signaling the start of the earth reclaiming the meteorite's destruction.

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PlayStation E3 experience is returning once again this year.

Per PlayStation Blog, fans can watch Sony's E3 2018 showcase in theaters across the United States, Canada, Mexico, Brazil, Argentina, and for the first time, Chile. The event, just like the showcase, will take place on June 11.

Sony's E3 press conference will start at 6 p.m. Pacific, 9 p.m. Eastern on June 11 (that's 2 a.m. June 12 in the UK). You must be 17 years of age or older to attend this event (18+ in Brazil) with a valid form of ID on hand.

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The year is 304 BCE, and a scrappy Italian city-state called Rome has not yet begun to even dream of the greatness it will one day achieve. Paradox’s recently announced grand strategy game Imperator: Rome will allow you to rise to the challenge of that war-torn era. Surrounded by a roiling cauldron of barbarian tribes, the ascendant Mediterranean power of Carthage, and the squabbling successor states left behind by the untimely death of Alexander the Great - it's fair to say you'll have your work cut out for you leading Rome (or any of the over 400 playable nations) to dominance.

Paradox Development Studio (known for such grand strategy staples as Crusader Kings II and Stellaris) last tackled the Roman age back in 2008 with Europa Universalis: Rome. But while that was a spin-off, Imperator is the start of a new franchise with its own identity - even if it does borrow a lot from the studio’s other games.

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Sesame Street has lost its lawsuit against the R-rated puppet comedy, The Happytime Murders.

Earlier this month, the non-profit behind the beloved children's TV show, Sesame Workshop, filed a lawsuit against the movie for using the Sesame Street brand to promote the film's violent and raunchy message. This specifically included the use of the tagline, "No sesame. All street."

Per THR, US District Judge Vernon Broderick has now officially ruled in favor of the creators behind the movie, STX Productions.

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The most popular game in the world, Arena of Valor, is going to have a two-week long closed beta on Nintendo Switch.

The MOBA, which is currently out on mobile, will be hosting the beta this summer "with dates being announced soon," according to publisher Tencent Games.

The beta will only be available in North America and Europe, and fans can enter the chance to win a code by completing a survey.

Massively popular in China, Arena of Valor arrived on Western mobile devices last December. The MOBA has over 200 million registered players and regularly hits 80 million daily active users, which makes it the most popular game in the world. You can read more about Arena of Valor in our write up of our experience with its mobile version.

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Hell, by its very nature, shouldn't be enjoyed, but there's still something enthralling and entertaining in seeing creators imagine it in various ways. Agony, on the other hand, is less about Hell as a vehicle for entertainment or even fear. Agony's version of Hell is simply a place of unimaginable horror. It is depraved beyond reckoning, a place whose very brick and mortar is composed of atrocities. It is a place that never opens its sick, emaciated maw except to blaspheme and torment. Hell is terrifying in Agony, which goes hand in hand with the fact that the game is also torturous to play.

In Agony, you are a freshly fallen wretch who wakes up at the gates of Hell with his memories--including his true name--burned away during the trip down. Under normal circumstances, it'd be torture time for the rest of eternity, but somehow, the new meat walks through the gates with most of his wits about him, and only one piece of knowledge: that Hell has a guardian angel, the Red Goddess. Only she can help him regain his lost memories, and help him escape perdition. So begins a long, arduous journey of survival horror--closer in function to Clock Tower or Alien Isolation than Resident Evil--to meet the Goddess, and beg for her dark blessing.

Agony's single most breathtaking achievement is Hell itself. It is an enormous, heretical province of terror, the ungodly conceptual Venn diagram between Hieronymous Bosch, H.R. Giger, and Clive Barker. The very ground you wake up on in the game's first level is made of rotting pink flesh, the mortar made from the crushed bodies and blood of the hideous unborn, a process a later cutscene even shows you in great detail. The architecture all around you is a pulsating gothic nightmare, cathedrals of wide-eyed corpses and skeletons, some of whom are still alive, trapped twitching inside for eternity.

It's because the world itself is so impressive that the enemy design then comes across so disappointing and predictable. While beautiful in detail, demons look mostly like the typical Doom interpretation of demons, and female variants tend to veer closer to being strippers-with-sharp-teeth as opposed to something legitimately imaginative. The Red Goddess herself is a near constant source of eyerolls, mostly coming off as a bloodied burlesque performer, with an inappropriately over-the-top voice performance that wouldn't be out of place in a commercial for a sex hotline. There are design elements that push the envelope--mostly centered around some truly unsettling perversions of genitalia--but the game's ham-handed attempts to be sexy, even in a sinister manner, is incongruous with the skin-crawling nature of the rest of the game.

All the wretched humans shambling around Hell--you included--are little more than desiccated revenants. You can walk--or, more accurately, shuffle along at a snail's pace--perform a limited sprint, and jump. There are no weapons to be had, though you can pick up torches, which provide light, but little else. When you come across an enemy, you have only three options: run, sneak, or hide. You can technically sneak around, and there’s even a power-up to be gained later that supposedly lessens the noise you make. It is still very, very easy to be heard and seen, hiding spots aren't always close by, and aside from a rising musical sting, there’s no indicator of where exactly an enemy is in relation to you.

There's only a few different classes of enemy you see throughout your play time, ranging from swarms of insects to Lovecraftian behemoths that can snatch up your soul. With only a couple of exceptions, getting caught by an enemy is typically a one- or two-hit death. As such, an hour's work can be flushed down the toilet just by hitting the wrong enemy in a group. Later on, you can actually possess a few classes of demon, but this is never as empowering or thrilling as you might expect. Agony doesn't seem to know how to capitalize on its most promising aspects.

You do, however, have one big trick up your shriveled sleeve: if you should die another death in Hell, your soul can actually fly out of your current body, and forcibly possess another. That's only if you can find a vulnerable victim, though, and pull off the black shroud preventing them from being possessed. Otherwise, after about 10-15 seconds of being dead again, your soul dies a true death. The trick of it is not just finding the last person you unshrouded, but typically finding them in a maze, with an extremely limited and obscured field of vision while disembodied. If/when you die, the Goddess keeps you in Hell, though, and sends you back to the last checkpoint. Even then, checkpoints are a whole other problem. They're represented by a special mirror, where a soul must be sacrificed, but the mirrors are hidden deep in each level. Agony treats basic progressional milestones the way most games treat obscure collectibles.

The checkpoint issue is one tiny facet of the game's overarching issue: Hell is too big for its own good. Your one navigational tool, the Destiny Lines, sends out a little neon cluster of lights that can point you in the right direction, but often the cluster gets just as confused as you are, leading you through walls or ceilings, instead of along a proper route, which can be difficult to discern in the chaotic and painfully dim environments. In addition, on the game's default difficulty, the Lines are a limited resource. The idea here is sound, if the idea was, in fact, to make surviving in Hell feel like a Sisyphean struggle, wandering a realm that mortal men have no mastery over. It doesn't make for an enjoyable experience.

When you're not losing chunks of progress, the rest of the game pits you up against two types of glorified scavenger hunts: collecting a small number of important objects and arranging them in a very specific way to open a door, or finding the correct sigil among dozens written in the environment that will unlock the next area. The first kind is usually easy enough, though oddly, the most difficult one in the game is right at the beginning, where you're thrown into an expansive labyrinth full of enemies, and no way to save your progress when you've grabbed any of the resources you need to continue. Others are easier, but still more of a trudging annoyance than anything. The second kind involves exploring around to find the sigil, often involving backtracks into dangerous areas, only to get back to the door and discover the sigil you picked up doesn't unlock your door. This kind of slow and infuriating repetition typifies Agony from start to finish.

These are issues ironically exacerbated by the fact that it's all taking place in one of the most abominable, depressing, and fundamentally disgusting environments imaginable. Worst of all, you grow numb to Agony's uniquely repulsive flair over time. You start thinking about the environment in practical nonplussed terms, instead of the grim wonder that strikes you in the beginning. Distress turns to disinterest, then--even as the bigger revelations about the protagonist and the nature of his torture come to light--turn to total apathy. I entered Agony’s Gates of Hell with a slack-jawed gasp. It is such a disappointment to have to have left it with a shrug.

Avalanche Studios, the developer behind Rage 2 and the Just Cause series, has been acquired by Nordisk Film but will continue to operate as normal.

Nordisk announced the acquisition is the largest in the company's 111-year history. Having been minority owners in Avalanche Studios since last year, Nordisk dropped €89 million to secure the remaining shares and now owns the game developer outright.

"At Nordisk Film, we are determined to strengthen our position in the growing global gaming market," said Nordisk CEO Allan Mathson Hansen in a press release. "We want to build a sizeable portfolio of game developers. Our engagement in Avalanche Studios proves that we are committed to substantial and long-term investments."

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