The game makes the city itself a character, tying the whale's mood to travel speed and forcing players to balance two opposing needs, an evolution of the studio's peaceful city-builder lineage.
The sequel swaps the free, endless format that built its audience for a paid campaign with a publisher, a test lead artist Darren Contreras says will prove the studio's worth.
Appulse makes ricochet physics the core of its combat, so the score multiplier and the roguelite upgrades both push players to master angle calculation rather than raw aim.
The rename and the partnership with Kabam Games, which scaled up graphics and volume beyond the original plan, lock the full game and its console versions to a spring 2027 window.
GameDEVA's stated model is to carry finished Hong Kong games to international publishers while refusing to steer the creative work of the indie developers it serves.
The summer window shows long-running titles still dominate revenue while two new releases, hololive Dreams and Gensou Suikoden STAR LEAP, broke into the top 10 in both revenue and downloads.
The collaboration puts Sakura Miko and Houshou Marine into everyday streetwear with a physical retail presence in Taiwan and Hong Kong, extending hololive merchandise beyond digital content into a brand built on a Japanese-Taiwanese design identity.
The Genesis Configuration is built as an active combat and puzzle mechanic rather than a plot device, which gives the survival horror loop its identity.
The second FOSSIL x Minecraft run moves the collab past the Overworld into the game's other dimensions, trading the 2025 set's two chronographs for three dimension-themed models.
The full-length 2D MV gives players a complete view of the Sekai ver. of 'Haneuta' on the official channel, while the song itself is distributed in-game through the Present feature.
The open beta opens the game to unlimited players in three languages, letting One or Eight gather feedback on the hat-based job system and the demon king live-show raid loop before the game reaches Steam, Switch 2, and PS5.
The series wraps in three volumes after roughly a year of serialization, with the final volume shipping September 9.
The drop spans 40 livers with a random card mechanic, and it lands on the same day as the official store's 6th anniversary campaign, pairing a broad merchandise push with a store milestone.
Tomiyama's interview ties Takara Tomy's current strategy, a manufacturing shift out of China and a bet on physical toys, to his own history with Beyblade.
Dropping the identity verification requirement for overseas posting removes a barrier the previous global app carried, and the planned iOS and wider-country rollout points to a broader international push.
The new section gives Japanese animation a dedicated out-of-competition slot at BIFF, pairing 1958 to 2004 classics with four 2026 titles.
The episode's fake-out future sequence and the Uryu-Jugram fight finally getting substantial screen time are the week's notable developments.
The short carries Peter Cullen's final performance as Optimus Prime, announced days after his death, which gives the 4K re-release of The Transformers: The Movie a memorial dimension.
The all-male Precure stage play line continues with a new production, keeping the franchise's male Precure experiment on stage after three prior runs.
The film is the first release under the new Paramount-Legendary distribution deal, giving the long-delayed project a firm October 16 date after Sony removed it from its schedule.
The annual birthday special brings in two guest stars, with Koizumi playing the billionaire whose stolen gem puts a bounty on Doraemon.
The second cours of the Red River anime gets its theme song artists, with Nana Mizuki doubling as the opening singer and the voice of Ursula, a false goddess impersonating Ishtar.
Sega is running the collab across two X-based giveaways, a character present campaign and a voice actor autograph campaign, alongside the in-game events, spreading the promotion beyond the game itself.
The episode reframes the series' conflict by identifying Shu Gabi, not Keigetsu, as the true villain, recasting Keigetsu as a manipulated victim rather than a genuine villainess.