Square Enix's Outriders has been delayed to February 2, 2021, on PlayStation 5, Xbox Series X/S, PS4, Xbox One, and PC (Steam & Epic). However, it will support a complete cross-play experience and will offer free upgrades to next-gen. Outriders was originally set to be released in Holiday 2020, but complications due to the COVID-19 pandemic and "work-process-restructuring" lead to the delay. [ignvideo url="https://www.ign.com/videos/2020/10/08/outriders-release-date-announce-trailer"] Fortunately, Square Enix has said that the core game is in a "largely complete state," but its testing operations ran into some issues with the switch from normal operations, and the team needs "a bit more time to get it right and ensure that the Outriders experience will be as smooth and issue-free as it possibly can be when we launch." As previously mentioned, the good news is this new game will support a complete cross-play experience. Additionally, there will be a free game upgrade from PS4 to PS5 and Smart Delivery will be supported for Xbox One to Xbox Series X/S. Outriders is a 1 to 3, drop-in-drop-out co-op shooter that we said, in our hands-on time, feels like what happens when Mass Effect meets Diablo. [widget path="global/article/imagegallery" parameters="albumSlug=outriders-ign-first&captions=true"] Outriders was also featured as our IGN First for August 2020, where we looked at how mods change the gameplay, the Technomancer class, a full co-op mission, a monster hunt, and much more. [poilib element="accentDivider"] Have a tip for us? Want to discuss a possible story? Please send an email to newstips@ign.com. Adam Bankhurst is a news writer for IGN. You can follow him on Twitter @AdamBankhurst and on Twitch.

The Star Trek franchise kicked off New York Comic Con's virtual event on Thursday with the Star Trek Universe panel, featuring the casts and producers from Star Trek: Discovery and Star Trek: Lower Decks. Read on for the details of what happened at the panel, get all the info on the news that Star Trek: Voyager's Kate Mulgrew will be returning as Captain Janeway in Star Trek: Prodigy, and be sure to also check out our preview of the NYCC 2020 panels we're most excited about. Disco stars Sonequa Martin-Green, Doug Jones, Anthony Rapp, Mary Wiseman, and Wilson Cruz were joined by new cast members David Ajala, Blu del Barrio and Ian Alexander as well as co-showrunners and executive producers Alex Kurtzman and Michelle Paradise in advance of the show's third season, which debuts on Thursday, October 15, on CBS All Access. The team unveiled a scene from Season 3, which you can watch right here: The scene opens with an unfamiliar, alien ship navigating some kind of debris field, with another strange, spinning vessel in hot pursuit. This is Trek's future, 930 years after the era of Discovery's first two seasons. Onboard the first ship we meet David Ajala's new regular cast member Booker, who is working a control panel that looks like it came from Krypton in Zack Snyder's Man of Steel with its ever-changing, metallic-crystal grid. An alien pops onto the (3D) viewscreen of Book's ship, calling him, in an alien tongue, "a son of a bitch" and complaining that "you stole what I stole!" "It doesn't belong to you," responds Book. "It belongs to its own self. Open your damned mind." Suddenly a wormhole opens outside Book's ship, and something comes hurtling out of it... something red. Yep, it's Michael Burnham (Martin-Green) in her Red Angel time-travel suit. She collides with Book and both parties lose control, hurtling towards a nearby planet. Burnham has to restart the malfunctioning suit as she plummets towards the surface of the alien world. And man, you know how long it can take to do a computer reboot... [widget path="global/article/imagegallery" parameters="albumSlug=star-trek-discovery-season-3-photos&captions=true"] On the Lower Decks front, creator Mike McMahan was joined by voice actors Tawny Newsome, Jack Quaid, Eugene Cordero, Noël Wells, Dawnn Lewis, Jerry O’Connell, Fred Tatasciore, and Gillian Vigman for a special episode of CBS All Access' Star Trek after-show The Ready Room, hosted by Wil Wheaton. It was perfect timing too, as Lower Deck's first season ended on Thursday. [ignvideo url="https://www.ign.com/videos/star-trek-lower-decks-team-on-canon-costumes-cameos-and-more"] The discussion was very spoiler-heavy based on the big events of the season finale, so we'll avoid getting into those here for now. (It also amazingly featured a reunion between Wil Wheaton and Jerry O'Connell, who first met while making Stand By Me as kids!) You can watch the full panel here, though, complete with a surprise guest appearance. But Season 2 of the series has already been written and is in production with a (hopeful) release date of 2021. Warp me!

The Star Trek franchise kicked off New York Comic Con's virtual event on Thursday with the Star Trek Universe panel, featuring the casts and producers from Star Trek: Discovery and Star Trek: Lower Decks. Read on for the details of what happened at the panel, get all the info on the news that Star Trek: Voyager's Kate Mulgrew will be returning as Captain Janeway in Star Trek: Prodigy, and be sure to also check out our preview of the NYCC 2020 panels we're most excited about. Disco stars Sonequa Martin-Green, Doug Jones, Anthony Rapp, Mary Wiseman, and Wilson Cruz were joined by new cast members David Ajala, Blu del Barrio and Ian Alexander as well as co-showrunners and executive producers Alex Kurtzman and Michelle Paradise in advance of the show's third season, which debuts on Thursday, October 15, on CBS All Access. The team unveiled a scene from Season 3, which you can watch right here: The scene opens with an unfamiliar, alien ship navigating some kind of debris field, with another strange, spinning vessel in hot pursuit. This is Trek's future, 930 years after the era of Discovery's first two seasons. Onboard the first ship we meet David Ajala's new regular cast member Booker, who is working a control panel that looks like it came from Krypton in Zack Snyder's Man of Steel with its ever-changing, metallic-crystal grid. An alien pops onto the (3D) viewscreen of Book's ship, calling him, in an alien tongue, "a son of a bitch" and complaining that "you stole what I stole!" "It doesn't belong to you," responds Book. "It belongs to its own self. Open your damned mind." Suddenly a wormhole opens outside Book's ship, and something comes hurtling out of it... something red. Yep, it's Michael Burnham (Martin-Green) in her Red Angel time-travel suit. She collides with Book and both parties lose control, hurtling towards a nearby planet. Burnham has to restart the malfunctioning suit as she plummets towards the surface of the alien world. And man, you know how long it can take to do a computer reboot... [widget path="global/article/imagegallery" parameters="albumSlug=star-trek-discovery-season-3-photos&captions=true"] On the Lower Decks front, creator Mike McMahan was joined by voice actors Tawny Newsome, Jack Quaid, Eugene Cordero, Noël Wells, Dawnn Lewis, Jerry O’Connell, Fred Tatasciore, and Gillian Vigman for a special episode of CBS All Access' Star Trek after-show The Ready Room, hosted by Wil Wheaton. It was perfect timing too, as Lower Deck's first season ended on Thursday. [ignvideo url="https://www.ign.com/videos/star-trek-lower-decks-team-on-canon-costumes-cameos-and-more"] The discussion was very spoiler-heavy based on the big events of the season finale, so we'll avoid getting into those here for now. (It also amazingly featured a reunion between Wil Wheaton and Jerry O'Connell, who first met while making Stand By Me as kids!) You can watch the full panel here, though, complete with a surprise guest appearance. But Season 2 of the series has already been written and is in production with a (hopeful) release date of 2021. Warp me!

This week in GTA Online, get triple rewards in Transform Missions, double rewards in Contact Missions, and tons of discounts and login bonuses.

This week in GTA Online, get triple rewards in Transform Missions, double rewards in Contact Missions, and tons of discounts and login bonuses.

The Academy of Motion Picture Arts and Sciences has announced that films shown at drive-in theaters will be eligible for the Oscars in 2021. According to The Hollywood Reporter, the official Board of Governors voted to update the eligibility rules on Tuesday in order to allow drive-in films to qualify for best picture and general entry categories at the 93rd Academy Awards. The new requirements state that films screened at drive-in theaters will need to be shown for seven consecutive days at the same venue, with at least one screening per day. [ignvideo url="https://www.ign.com/videos/2020/06/15/oscars-2021-academy-expected-to-postpone-ceremony-extend-eligibility-window-ign-news"] The rule dictates that "films may qualify with a traditional theatrical release, completing a seven-day run in one of six qualifying cities (Los Angeles, New York, San Francisco/Bay Area, Chicago, Miami, Atlanta), screening at least three times daily, with at least one screening between 6 pm and 10 pm daily. Additionally, drive-in theaters in these cities will now qualify as a commercial venue, however, the screening requirement will be adjusted from three times daily to once daily." We reported back in March that there had been a sudden surge of popularity with drive-in movie theaters this year, as several of the 305 outdoor venues in the United States noted an increase in business while the majority of traditional brick-and-mortar movie theaters, including major chains, AMC and Regal, were forced to close their doors in adherence to government advisories on social distancing during the global coronavirus (COVID-19) pandemic. [widget path="global/article/imagegallery" parameters="albumSlug=every-delayed-movie-due-to-coronavirus-so-far&captions=true"] In further Oscars changes this year, the Academy decreed back in April that films that were previously planned for theatrical release but instead debut on commercial streaming or VOD services may be able to qualify for Best Picture, general entry and speciality categories at next year's ceremony, though there are a few eligibility provisions. Shortly after that, it was announced that the 93rd Academy Awards had been postponed by two months, shifting from February 28, 2021, to April 25, 2021, with the eligibility period extended to February 28, 2021. Academy president David Rubin and CEO Dawn Hudson said they wanted to provide flexibility and prevent filmmakers from being "penalized for something beyond anyone's control." [poilib element="accentDivider"] Adele Ankers is a Freelance Entertainment Journalist. You can reach her on Twitter.

The Pathless, the next game from Abzu developer Giant Squid, is hitting the PS5 on the new console’s launch day, alongside PS4, PC, and Apple Arcade versions of the game. And as one of the first games for PlayStation’s next-gen console, it’ll be taking advantage of the new DualSense controller and its higher specs. Speaking to journalists during a demo presentation — be sure to check out our hands-on preview of The Pathless — Giant Squid’s Matt Nava spoke to the ways the new open-world adventure uses PS5’s new capabilities. [widget path="global/article/imagegallery" parameters="albumSlug=the-pathless-screenshots&captions=true"] Nava confirmed The Pathless will employ the DualSense’s new haptic feedback, specifically around the game’s shooting mechanic. The Pathless involves archery as one of its main mechanics, but it takes the focus away from precise aiming and puts it more on exact timing — to keep your character’s speedy momentum up, you need to shoot the plentiful red markers floating around the world. As you shoot them, a red bar fills up around the marker, and if you release the trigger to shoot at the halfway mark, you actually will get even more out of each hit. For the PS5, players will be able to feel the tension of the main character’s bow pull in the trigger, and the additional feedback will help register when it’s the best time to release the arrow. Nava noted he thought at first the trigger rumble would be just some extra feedback, but that it actually helps to read the timing of your shots. [ignvideo url="https://www.ign.com/videos/2020/08/06/the-pathless-gameplay-overview-state-of-play-2020"] “After going back to playing on a PS4 controller, I realized I missed that extra indicator of the timing,” he said. Nava also confirmed that, for PS5, The Pathless will have multiple performance options for players to choose: one at 4K/30 fps, and another at 60 fps with a lower resolution. Nava said the game will default to the 60 fps version, but that players can change it if they choose. Meanwhile, for those playing on touchscreens via the Apple Arcade, The Pathless splits the screen in two, letting players drag their finger around on the screen to move on the left side while controlling the camera on the right. Tap anywhere on the right side to jump, while a single button on screen is used to shoot. The developers decided to not use an on-screen, virtual controller, because they believed having to make players worry too much about where they were pressing without the tactile feedback of buttons would take people out of the experience. Players can also toggle an auto-run option so they don't have to keep dragging their finger on the left side of the screen to keep movement going.

The Pathless, the next game from Abzu developer Giant Squid, is hitting the PS5 on the new console’s launch day, alongside PS4, PC, and Apple Arcade versions of the game. And as one of the first games for PlayStation’s next-gen console, it’ll be taking advantage of the new DualSense controller and its higher specs. Speaking to journalists during a demo presentation — be sure to check out our hands-on preview of The Pathless — Giant Squid’s Matt Nava spoke to the ways the new open-world adventure uses PS5’s new capabilities. [widget path="global/article/imagegallery" parameters="albumSlug=the-pathless-screenshots&captions=true"] Nava confirmed The Pathless will employ the DualSense’s new haptic feedback, specifically around the game’s shooting mechanic. The Pathless involves archery as one of its main mechanics, but it takes the focus away from precise aiming and puts it more on exact timing — to keep your character’s speedy momentum up, you need to shoot the plentiful red markers floating around the world. As you shoot them, a red bar fills up around the marker, and if you release the trigger to shoot at the halfway mark, you actually will get even more out of each hit. For the PS5, players will be able to feel the tension of the main character’s bow pull in the trigger, and the additional feedback will help register when it’s the best time to release the arrow. Nava noted he thought at first the trigger rumble would be just some extra feedback, but that it actually helps to read the timing of your shots. [ignvideo url="https://www.ign.com/videos/2020/08/06/the-pathless-gameplay-overview-state-of-play-2020"] “After going back to playing on a PS4 controller, I realized I missed that extra indicator of the timing,” he said. Nava also confirmed that, for PS5, The Pathless will have multiple performance options for players to choose: one at 4K/30 fps, and another at 60 fps with a lower resolution. Nava said the game will default to the 60 fps version, but that players can change it if they choose. Meanwhile, for those playing on touchscreens via the Apple Arcade, The Pathless splits the screen in two, letting players drag their finger around on the screen to move on the left side while controlling the camera on the right. Tap anywhere on the right side to jump, while a single button on screen is used to shoot. The developers decided to not use an on-screen, virtual controller, because they believed having to make players worry too much about where they were pressing without the tactile feedback of buttons would take people out of the experience. Players can also toggle an auto-run option so they don't have to keep dragging their finger on the left side of the screen to keep movement going.

The Pathless, the second game from Abzu developer Giant Squid, is an ambitious step forward for the studio — alongside being a PS5 launch game, it’s the first open-world game for Giant Squid, one that’s both inspired by the genre’s best while also hoping to subvert some open-world norms to better immerse the player in its beautiful, mysterious island setting. And while its open-world trappings are certainly worth diving into, one of its most interesting choices is in its main gameplay hook — it’s a game in which a bow and arrow is your main weapon, but you don’t have to worry about aiming all that much. It’s a strange idea in concept, but one that works from my time watching Giant Squid’s Matt Nava demo the game and my own hands-on time with it. [widget path="global/article/imagegallery" parameters="albumSlug=the-pathless-screenshots&captions=true"]

May Your Aim Be True

Taking on the role of the Hunter, players navigate The Pathless’ open-world on foot, or by gliding through the air with a newly met eagle companion. And sure, you could plod along at your basic running speed, but all throughout the island are these red, diamond-shaped markers floating in the air. Hit them and your boost meter – present at the bottom of the screen – will start to fill up. You can drain this meter to launch yourself into a smooth, speedy sprint, shooting down other markers as you go to keep your bar from totally depleting and, more importantly, keep your momentum up. Rather than aiming it’s all about timing — hit a marker as you’re running to continue your boost, then jump, shoot another marker, and use the momentum from that shot to glide further than if you had just initiated it from standing still. Timing is the main concern — you can see a meter fill up around the marker as you hold the right trigger down to shoot. If you release at the halfway point, you actually get more bang for your bow. The Hunter’s base walking speed is relatively slow, so you’re going to want to shoot down any of the plentiful markers regardless, but even without the need for speed, Giant Squid’s sense of movement could make for something really special. In the closest approximation to playing as The Flash in a video game, The Hunter’s dash offers a sense of graceful, smooth movement I’ve rarely seen, letting you cover vast distances in short order. And without needing to really worry about aiming — if your generously zoomed out camera spots a marker, it will automatically be highlighted — that lets you put all your focus on the Hunter’s path. It’s enthralling to chain together marker hits, all without worrying about precise aiming, so that you can run, jump, and glide with both style and precision. And The Pathless’ island encourages natural exploration, so you’ll want to be as mobile as possible. It takes a cue from IGN 2012 Game of the Year winner Journey, of which Giant Squid’s founder is its art director. Like in that game, which saw players collecting scarf pieces to glide for longer periods of time, The Pathless’ eagle has a limited number of flaps that can be increased so players can reach greater heights. Flaps, which recharge once the player touches the ground, are the key to scaling some of the world’s most notable landmarks, which are often quite high up. Additional flaps aren’t always necessary to reach a location — the right combination of jumps, arrow markers, and glides can be used in combination to reach certain spots. But they’ll require you to really get in the groove of The Pathless’ flow, an almost zen-like experience as you master its arrow timing.

An Island of Secrets

The Pathless’ island is separated into a series of locations, each with their own secrets to uncover along your main goal of curing the island of an infectious darkness spreading across the land. The Breath of the Wild comparisons are undeniable, with the bright red and black smoke that portends a foe’s arrival looking quite close to Hyrule’s Ganon plague. And, much like the beloved Zelda outing, if you see a tall monument in the distance, it’s probably a safe bet you can and need to reach it. But rather than relying on any sort of map as a guidepost, Giant Squid wants to keep you present on the island. There’s no map whatsoever to guide your way, requiring you to become familiar with the landscape, learn where its points of interest are, and find the best, or most fun, paths to get from one to the next. That lack of a map makes the entire journey one of discovery, familiarization, and eventually mastery. Though I’ve only spent time in the world’s first region, the Forest Plateau, it’s a sizable area full of hidden secrets that I’ve still been discovering long after I finished its main objective of dispelling the darkness from several landmarks and, eventually, from the now-possessed spirit watching over this region. I was wary that the lack of a map would mean I’d be losing my way when first exploring or, after some time, accidentally revisiting treasure locations I already completed thinking they were something new. Both those problems, at least in this one region, disappeared relatively quickly. In regard to losing my way, momentum markers are often placed in plentiful and specific paths to allow you to keep your speed naturally flowing in the direction of an important landmark. And the ability to don a spirit mask at any time – which lets you see an ethereal version of the world – is both great for before and after you’ve visited important locations. Pinging the world around you with an echo-location-esque view, important areas controlled by the evil force pulse in red and cleared landmarks in blue. Flipping in and out of this Assassin’s Creed Eagle vision-like mode is a quick button press that always allowed me to find my way or, in some of my favorite moments, turn in a direction I had never been before to see what extra treasures may be in hiding. My playthrough of the area culminated in a unique boss battle that was part epic chase scene and part pattern-based battle. The stampeding, Godslayer-controlled elk that watched over this domain gave chase, shooting swarms of fireballs my way and sending out shockwaves of flames as I sped, swerved, and slid toward it, shooting at a few markers on either side of its hulking body. Eventually, we made our way to an arena with a more typical boss battle, waiting to attack at the right moment while dodging out of the way of attacks. But what the battle itself lacked in familiarity it made up for in pure tension, as I used the scant amount of my dash meter I’d gain after each attack to hopefully stay alive. Clearing the plateau of evil, I can’t wait to embark on a journey to the island’s other regions. The Pathless’ opening area seemingly answered every concern I had with smart answers that only informed its sense of movement, exploration, and mystery. I’m curious to see where the rest of Giant Squid’s new journey takes me, both in the path the developers have carved for me and in the pathless expanse of the island waiting to be discovered.

If you upgrade your copy of FIFA 21 to next-gen, you won't be able to keep some of your save data from the current generation due to development "trade-offs." Eurogamer spoke to FIFA executive producer Aaron McHardy about how the game's Dual Entitlement upgrades will work, confirming that save data from Online Seasons, Co-Op Seasons, Career Mode and Pro Clubs won't transfer between generations, if players plan to make the jump from PS4 to PS5 or Xbox One to an Xbox Series console. "When we start developing for a new generation of consoles, there's ultimately some trade-offs we need to make. So we decided that the time required to make all modes transferable was better used to build new features and improvements across the entire game, along with addressing feedback from our players," McHardy explains. "Since both Volta and FUT are server-based modes it made sense for us to focus on them as a way for players to carry over their progression." [ignvideo url="https://www.ign.com/videos/2020/10/06/fifa-21-review"] You'll still be able to keep your progression in Volta Football and Ultimate Team, but this isn't great news for players who may have planned to continue their manager career across generations. We reviewed FIFA 21, scoring it a 7 and calling it a "year of small improvements with much to enjoy, but little to shout about." EA was recently pressured to pull advertisements from a toy catalogue that was marketing FIFA Points to children. [poilib element="accentDivider"] Jordan Oloman is a freelance writer for IGN. Follow him on Twitter.