Epic Games is cutting more than 1,000 jobs as usage of its flagship title, Fortnite, falls. "The layoffs aren't related to AI," CEO Tim Sweeney noted. Reuters reports: The cuts, along with more than $500 million in savings from lower contracting and marketing spending and unfilled roles would put the company in "a more stable place," Sweeney said in a note to employees. [...]

"We've had challenges delivering consistent Fortnite magic," Sweeney said, adding "market conditions today are the most extreme" since the early days of the company founded in 1991.

The move marks Epic's second major round of layoffs in three years. In September 2023, the company cut about 830 jobs, or roughly 16% of its workforce. It was not immediately clear what percentage of staff would be impacted by Tuesday's announcement.

Nvidia CEO Jensen Huang says he understands the concerns about "AI slop" with DLSS 5 but insists the feature preserves a game's underlying geometry and artistic intent. "I think their perspective makes sense, " said Huang during a recent appearance on the Lex Fridman podcast. "And I could see where they're coming from because I don't love AI slop myself. You know, all of the AI-generated content increasingly looks similar, and they're all beautiful... so I'm empathic toward what they're thinking. That's just not what DLSS 5 is trying to do." Tom's Hardware reports: Although Huang is striking a more conciliatory tone, much of his response is similar to what we heard at GTC [where Huang said gamers were "completely wrong."] The artist determines the geometry, we are completely truthful to the geometry... so every single frame, it enhances, but it doesn't change anything." There was some confusion about how DLSS 5 worked when it was first announced, and although the inner workings of it still aren't clear on a technical level, Huang has said that it isn't a general-purpose generative AI model. He describes it as "content-controlled generative AI." On the other end of the spectrum, Huang also said that it isn't a post-processing filter. The technical details of DLSS 5 live somewhere between that space, and we likely won't know them until later this year when the feature is set to release.

"The question about enhancing, DLSS 5... in the future, you could even prompt it. You know, I want it to be a toon shader. I want it to look like this, kind of. You could even give it an example and it would generate in the style of that, all consistent with the artistry, the style, the intent of the artist," Huang continued. "All of that is done for the artist so they can create something that is more beautiful but still in the style that they want." Although the talking points about DLSS 5 remain unchanged, it seems that Huang has at least heard the criticism. "I think that they got the impression that the games are going to come out the way the games are... and then we're going to post-process it. That's not what DLSS is intended to do."

Huang also made assertions that DLSS is "integrated" with the artist, and suggested that it would put the power of generative AI in the hands of artists working in game development [...]. Although DLSS 5 looks like it's doing a lot, Huang said that it's just another tool, not an essential feature. "The gamers might also appreciate that, in the last couple of years, we introduced skin shaders to game developers, and many of those games have skin shaders that include sub-surface scattering that makes skin look more skin-like... [DLSS 5] is just one more tool. They can decide what to use," Huang ended the conversation about DLSS 5. Immediately after, without missing a beat, he said 1993's Doom was the most influential video game ever made.

Meta is partially reversing its decision to drop VR support for Horizon Worlds, keeping VR access for existing Unity-based games while shifting future development to a new flatscreen-focused Horizon Engine. UploadVR reports: If you somehow missed it, on Tuesday Meta officially announced that its Horizon Worlds "metaverse" platform would drop VR support in June, meaning it would only be available as a flatscreen experience for the web and smartphones. But now, in an "ask me anything" session on his Instagram page, Meta CTO Andrew Bosworth says the company has decided to "keep Horizon Worlds working in VR for existing games to support the fans who've reached out."

Bosworth says this specifically applies to worlds developed with the Horizon Unity runtime, suggesting it applies to those built inside VR or with the Horizon Desktop Editor, but not those built for the new Horizon Engine with Horizon Studio. The picture painted here is of a clean technical break, with the legacy Unity version of Horizon Worlds continuing to support VR, and the new Horizon Engine focusing fully on flatscreen. This VR support will continue through the Horizon Worlds VR app, which Bosworth says will stay on Quest's store "for the foreseeable future".

Specific worlds will not be recommended by the operating system, though, and nor will they be seen in the storefront. Horizon Worlds will be just another app on the store. As for the reason behind not supporting VR in Horizon Engine, Bosworth repeated the explanation he's been giving for two months now -- "because that's where most of the consumer and creator energy already was, and so we're leaning into that."

Kyle Orland writes via Ars Technica: Since deep-learning super-sampling (DLSS) launched on 2018's RTX 2080 cards, gamers have been generally bullish on the technology as a way to effectively use machine-learning upscaling techniques to increase resolutions or juice frame rates in games. With yesterday's tease of the upcoming DLSS 5, though, Nvidia has crossed a line from mere upscaling into complete lighting and texture overhauls influenced by "generative AI." The result is a bland, uncanny gloss that has received an instant and overwhelmingly negative reaction from large swaths of gamers and the industry at large.

While previous DLSS releases rendered upscaled frames or created entirely new ones to smooth out gaps, Nvidia calls DLSS 5 -- which it plans to launch in Autumn -- "a real-time neural rendering model" that can "deliver a new level of photoreal computer graphics previously only achieved in Hollywood visual effects." Nvidia CEO Jensen Huang said explicitly that the technology melds "generative AI" with "handcrafted rendering" for "a dramatic leap in visual realism while preserving the control artists need for creative expression."

Unlike existing generative video models, which Nvidia notes are "difficult to precisely control and often lack predictability," DLSS 5 uses a game's internal color and motion vectors "to infuse the scene with photoreal lighting and materials that are anchored to source 3D content and consistent from frame to frame." That underlying game data helps the system "understand complex scene semantics such as characters, hair, fabric and translucent skin, along with environmental lighting conditions like front-lit, back-lit or overcast," the company says. Nvidia's announcement video and detailed Digital Foundry breakdown can be found at their respective links.

"Reactions have compared the effect to air-brushed pornography, 'yassified, looks-maxed freaks,' or those uncanny, unavoidable Evony ads," writes Orland. "Others have noted how DLSS 5 seems to mangle the intended art direction by dampening shadows in favor of a homogenized look."

Thomas Was Alone developer Mike Bithell said the technology seems designed "for when you absolutely, positively, don't want any art direction in your gaming experience."

Gunfire Games Senior Concept Artist Jeff Talbot added that "in every shot the art direction was taken away for the senseless addition of 'details.' Each DLSS 5 shot looked worse and had less character than the original. This is just a garbage AI Filter."

DLSS 5's "AI dogshit is actually depressing," said New Blood Interactive founder and CEO Dave Oshry, adding that future generations "won't even know this looks 'bad' or 'wrong' because to them it'll be normal."

"There are countless upgrades you could make to your gaming setup," writes PC Gamer's Jacob Ridley. "A wireless this, a bigger that, a faster thing. But how do you know what's going to be a genuine upgrade worth investing in? Personally, I think it might be split spacebars." His argument centers on the fact that spacebars take up a "greedy" amount of keyboard space -- space that could instead be divided into multiple keys for different actions, such as voice chat or melee attacks. From the report: While it's often very easy to reprogram your spacebar to do a different action via your keyboard's software, it's a lot harder to reprogram your brain to hit any other key when you try to jump in game. Spacebar makes you jump. Everyone knows that; it's practically etched onto your brain if you're a long-time mouse and keyboard player. So, why does a split spacebar help with that? It comes down to this: once you know which side of a spacebar you tend to thwack with your thumb, you can program the other side to do whatever you want. I hit the right-side of my spacebar every time when I'm typing. Therefore, when I started using a Wooting 60HE v2 with a split spacebar, I set the left-side to be the delete key; the keyboard lacking a dedicated delete key for its 60% size.

Though for gaming, the split spacebar offers much more varied purpose. People do strange things with the WASD keys that I won't litigate here, but I'm pretty sure most gamers use their left thumb to strike the spacebar for gaming. Right? Right. If you fall into this category, you have the option of using the right-side spacebar for things like a chunky melee key, or, my personal favorite, an in-game voice chat key.

An anonymous reader quotes a report from Ars Technica: Since Andrej Karpathy coined the term "vibe coding" just over a year ago, we've seen a rapid increase in both the capabilities and popularity of using AI models to throw together quick programming projects with less human time and effort than ever before. One such vibe-coded project, Gaming Alexandria Researcher, launched over the weekend as what coder Dustin Hubbard called an effort to help organize the hundreds of scanned Japanese gaming magazines he's helped maintain at clearinghouse Gaming Alexandria over the years, alongside machine translations of their OCR text.

A day after that project went public, though, Hubbard was issuing an apology to many members of the Gaming Alexandria community who loudly objected to the use of Patreon funds for an error-prone AI-powered translation effort. The hubbub highlights just how controversial AI tools remain for many online communities, even as many see them as ways to maximize limited funds and man-hours. "I sincerely apologize," Hubbard wrote in his apology post. "My entire preservation philosophy has been to get people access to things we've never had access to before. I felt this project was a good step towards that, but I should have taken more into consideration the issues with AI." "I'm very, very disappointed to see [Gaming Alexandria], one of the foremost organizations for preserving game history, promoting the use of AI translation and using Patreon funds to pay for AI licenses," game designer and Legend of Zelda historian Max Nichols wrote in a post on Bluesky over the weekend. "I have cancelled my Patreon membership and will no longer promote the organization."

Nichols later deleted his original message (archived here), saying he was "uncomfortable with the scale of reposts and anger" it had generated in the community. However, he maintained his core criticism: that Gemini-generated translations inevitably introduce inaccuracies that make them unreliable for scholarly use.

In a follow-up, he also objected to Patreon funds being used to pay for AI tools that produce what he called "untrustworthy" translations, arguing they distort history and are not valid sources for research. "... It's worthless and destructive: these translations are like looking at history through a clownhouse mirror," he added.

Linux gaming "has gotten to the point where some people claim that Linux runs their games better than Windows does," according to the Android site XDA Developers. And there's a new surprise on ProtonDB, an "unofficial" community website with crowdsourced data about videogame compatability with the Linux software/gaming compatability layer Proton: On ProtonDB, one operating system had reigned supreme since 2021: Arch Linux. And I say 'had,' because its streak has just been ended by [Arch-based] CachyOS in an upset that has slowly grown over the past two years. As reported on Boiling Steam, the number of reports coming from CachyOS has topped that of Arch Linux, which held the crown for the most number of reports since 2021...

[T]his isn't really a statement that CachyOS is the best gaming distro out there; however, it's seemingly attracting the largest number of gamers who are invested in testing games on Proton and reporting their performance, which is a pretty big milestone if you ask me.

"Just the anachronism of seeing Doom, one of the poster children for the moral panic around violent video games, on a Nintendo console is novel," writes Kotaku — especially with the console's underpowered "Super FX" coprocessor Hampered by a nearly unplayable framerate, especially in later levels, and mired by sacrifices, like altered levels, no floor or ceiling textures, and the entire fourth episode being cut, [1995's] Doom on the Super NES was not a good version of the game, but it was Doom running on the Super NES, and, for that alone, [programmer Randal] Linden's genius deserves recognition.
But then in 2022 when Audi Sorlie interviewed Linden on the YouTube show DF Retro, "Not really knowing where fate was going to take us, I asked [Linden] a throwaway question regarding the source code for Doom." If you ever worked on this again, Sorlie asked, would you make any improvements or do anything differently?"

"Yeah," Linden replied. "I have plenty of ideas if I could go back, but, you know, I don't think anyone's asking me to go back to Super Nintendo Doom and improve it."

A few years passed, and Sorlie joined Limited Run Games as lead producer for their development department. When LRG asked him to run down his craziest ideas, a new, improved release of Randal Linden's Doom loomed large. Convincing Linden was easy, and Sorlie said even the folks at license holder Bethesda were more amused than anything.

"You want to go back and develop for Super Nintendo?" they asked Sorlie. "Like, for real...?"

"The trick was actually pretty cool," Linden said. "It's right here." He pointed to a chip on the prototype SNES cartridge, similar to the one Limited Run sent me to test out the game. "It's a Raspberry Pi 2350." Super FX chips are no longer in production for obvious reasons, but with a clever bit of programming, Linden was able to load software onto the Raspberry Pi that fools the SNES into thinking the game has one. "The Super Nintendo doesn't know that it's not talking to a Super FX," he explained. When he programs for it, he writes code almost identical to what he'd write for an authentic Super FX chip.

"I had to go back and reverse-engineer my own code from 30 years ago," Linden laughed. "It's like, what was I doing here? And what was I doing there? Yeah, it was pretty tricky, some of the code. I was like, wow, I used to be very smart." The result of Linden's work? It's Doom, running right on a Super Nintendo, but it's smoother, packed with new content, and even includes rumble.

In April, Microsoft will be rolling out a full-screen "Xbox mode" to all Windows 11 PCs, including laptops, desktops, and tablets. The move follows last week's confirmation of its next-generation Xbox console, known internally as Project Helix, which will be capable of running both Xbox titles and PC games. The Verge reports: Technically, you've been able to try the Xbox Full Screen Experience (FSE) in preview since November 2025, if you were part of both the Windows Insider and Xbox Insider Programs. But it needed work, as well as a better name. When Microsoft originally shipped it on the Asus-designed Xbox Ally and Xbox Ally X handhelds, we were clear: it didn't meaningfully turn a PC experience into an easy-to-use Xbox one. But if Microsoft is putting its full weight behind PC as the future of Xbox gaming, perhaps that will change change.

Valve is facing a new consumer class-action lawsuit two weeks after New York sued the video game company for "letting children and adults illegally gamble" with loot boxes. The new lawsuit is similar, alleging that loot boxes in games like Counter-Strike 2, Dota 2, and Team Fortress 2 are "carefully engineered to extract money from consumers, including children, through deceptive, casino-style psychological tactics."

"We believe Valve deliberately engineered its gambling platform and profited enormously from it," Steve Berman, founder and managing partner at law firm Hagens Berman, said in a press release. "Consumers played these games for entertainment, unaware that Valve had allegedly already stacked the odds against them. We intend to hold Valve accountable and put money back in the pockets of consumers." PC Gamer reports: The system is well known to anyone who's played a Valve multiplayer game: Earn a locked loot box by playing, pay $2.50 for a key, unlock it, get a digital doohickey that's sometimes worth hundreds or even thousands of dollars but far more often is worth just a few pennies. Is that gambling? If these cases go to court, we'll find out.

The full complaint points out that the unlocking process is even designed to look like a slot machine: "Images of possible items scroll across the screen, spinning fast at first, then slowing to a stop on the player's 'prize.' Players buy and open loot boxes for the same reason people play slot machines -- the hope of a valuable payout." Loot boxes, the complaint continues, are not "incidental features" of Valve's games, but rather "a deliberate, carefully engineered revenue model." So too is the Steam Community Market, and Steam itself, which the suit claims is "deliberately designed" to enable the sale of digital items on third-party marketplaces through "trade URLs," despite Valve's terms of service prohibiting off-platform sales.

And while the debate over whether loot boxes constitute a form of gambling continues to rage, the suit claims Valve's system does indeed qualify under Washington law, which defines gambling as "staking or risking something of value upon the outcome of a contest of chance or a future contingent event not under the person's control or influence." "Valve's loot boxes satisfy every element of this definition," the lawsuit alleges. "Users stake money (the price of a key) on the outcome of a contest of chance (the random selection of a virtual item), and the items received are 'things of value' under RCW 9.46.0285 because they can be sold for real money through Valve's own marketplace and through third-party marketplaces that Valve has fostered and facilitated."

An anonymous reader quotes a report from Ars Technica: This week, tens of thousands of game developers and producers will once again gather in San Francisco, as they have since 1988, for the weeklong Game Developers Conference. But this year's show will be missing many international developers who say they no longer feel comfortable traveling to the United States to attend, no matter how relevant the show is to their work and careers. Dozens of those developers who spoke to Ars in recent months say they're wary of traveling to a country that has shown a callous disregard for -- or outright hostility toward -- the safety of international travelers. That's especially true for developers from various minority groups, those with transgender identities, and those who feel they could be targeted for outspoken political beliefs. "I honestly don't know anyone who is not from the U.S. who is planning on going to the next GDC," Godot Foundation Executive Director Emilio Coppola, who's based in Spain, told Ars. "We never felt super safe, but now we are not willing to risk it." "I honestly don't know anyone who is not from the U.S. who is planning on going to the next GDC," says Godot Foundation Executive Director Emilio Coppola, who's based in Spain. "We never felt super safe, but now we are not willing to risk it."

"Hearing European citizens getting arrested by border control over their views on the U.S. is not something I would like to test for myself," adds Nazih Fares, a French-Lebanese citizen and creative director at indie studio Le Cabinet du Savoir..

Many of the developers who spoke to Ars cite the intrusive questioning, racial profiling, and other horror stories reported at the U.S. border. "I read a few long reads about how UK/German tourists ended up detained, and that was the final straw for me," Austrian-based Cohop Game founder Eline Muijres said. "It doesn't feel safe for me."

Domini Gee, a Canadian game writer and narrative designer echoed that concern, adding: "There's no shortage of stories... about the risk of detainment, deportation, phones being searched... the consequences if I'm not [OK] could be high."

Electronic Arts has laid off staff across multiple Battlefield studios despite Battlefield 6 being the best-selling game in the U.S. in 2025 and the "biggest launch in franchise history." According to IGN, the layoffs include workers at Criterion, Dice, Ripple Effect, and Motive Studios. From the report: Individuals are being informed that the layoffs are taking place as part of a "realignment" across the Battlefield studios, as the team continues its ongoing, live service support for Battlefield 6 following launch. All four studios will remain operational, though the layoffs seem to be impacting a variety of teams across multiple studios and offices.

IGN asked EA for comment on total number and types of roles impacted, as well as for the specific reasons for the layoffs. An EA spokesperson told IGN: "We've made select changes within our Battlefield organization to better align our teams around what matters most to our community. Battlefield remains one of our biggest priorities, and we're continuing to invest in the franchise, guided by player feedback and insights from Battlefield Labs."

"If Lockheed Martin made a Game Boy, would you buy one?" That was the [rhetorical] question The Verge's Sean Hollister asked when he reviewed ModRetro's Game Boy-style handheld device back in 2024. He said it "might be the best version of the Game Boy ever made," though the connection to Palmer Luckey and his defense tech startup Anduril left him conflicted. "I don't remember my childhood nostalgia coming with a side of possible guilt and fear about putting money into the pocket of a weapons contractor," he wrote. "Feels weird!"

Those conflicted feelings have lingered ever since. TechCrunch recently cited Hollister's review while reporting that ModRetro is now seeking funding at a $1 billion valuation. The company is said to have additional retro-inspired hardware in development, including one designed to replicate the Nintendo 64. As for Anduril? It's reportedly in talks to raise a new funding round that would value the company at around $60 billion.

"In November Steam on Linux use hit an all-time high of 3.2%," reports Phoronix. And then in December Steam on Linux jumped even higher, to 3.58%.

But January's numbers settled a little lower, at 3.38%. And last Monday the February numbers were released, showing Steam on Linux at... 2.23%? Like with prior times where there are wild drops in Linux use, the Steam Survey shows Simplified Chinese use running up by 30% month over month. Whenever there is such significant differences in language use tends to be a reporting anomaly and negatively impacting Linux. Valve often puts out corrected/updated figures later on, so we'll see if that is again the case for this February data.

The National Videogame Museum has acquired an extremely rare MSF-1 development kit, believed to be the oldest surviving prototype of the canceled Nintendo PlayStation. Engadget reports: Nicknamed the Nintendo PlayStation, the idea was that a new CD-ROM format backed by Sony would be added to the cartridge-based Super NES, resulting in a hybrid console that could play both. The partnership didn't last long, though, with Nintendo backing out before it ever really got off the ground, announcing that it would instead be working with Philips. Sony decided to make the PlayStation on its own instead, in an act of revenge that you have to say paid off in the long run, and we never did get to see Crash Bandicoot running around the Mushroom Kingdom. Still, the short-lived Nintendo PlayStation remains a fascinating what-if scenario in video game history, and the USA's National Video Museum has acquired the original development kit.