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Here are some of Canada’s best Black Friday 2022 gaming deals

With so many Black Friday deals afoot, it can be difficult to keep up with all of them, especially if you’re only looking for specific products.

Gaming, in particular, is benefiting from a slew of promotions right now. Thankfully, we’ve got gamers covered. See below for a highlight of major game-related Black Friday offers. Note that this relates to retailers like Amazon, Best Buy, GameStop, The Source and Walmart. Similar deals are available through the digital Nintendo, PlayStation and Xbox storefronts, and we’ll link to those accordingly.

Meta

  • Meta Quest 2 128GB VR Headset with Touch Controllers & Resident Evil 4: $469.99 (regularly $529.99)

Nintendo

  • Animal Crossing: New Horizons — $54.99 (regularly $79.99)
  • Fire Emblem Warriors: Three Hopes — $54.99 (regularly $79.99)
  • The Legend of Zelda: Breath of the Wild — $54.99 (regularly $79.99)
  • The Legend of Zelda: Link’s Awakening — $54.99 (regularly $79.99)
  • Mario Party Superstars — $54.99 (regularly $79.99)
  • Nintendo Switch Mario Kart 8 Deluxe bundle (includes free game and three months of Switch Online) — $399.99
  • Persona 5 Royal — $39.99 (regularly $79.99)
  • Sonic Frontiers — $49.99 (regularly $79.99)

Click here for a breakdown of eShop deals.

PlayStation

    • A Plague Tale: Requiem (PS5) — $59.99 (regularly $79.99)
    • DualSense controllers (PS5) — $64.99 (regularly $89.99 to $94.99)
    • Elden Ring (PS4/PS5) — $49.99 (regularly $79.99)
    • FIFA 23 (PS4/PS5) — $49.99 (regularly $89.99)
    • Ghostwire: Tokyo (PS5) — $34.99 (regularly $79.99)
    • Horizon Forbidden West (PS5) — $49.95 (regularly $79.99)
    • The Last of Us Part I (PS5) — $59.99 (regularly $89.99)
    • NHL 23 (PS4/PS5) — $49.99 (regularly $89.99)
    • PlayStation Plus Essential 12-month subscription: $52.49 (regularly $69.99)
    • PlayStation Plus Extra 12-month subscription: $86.24 (regularly $114.99)
    • PlayStation Plus Premium 12-month subscription: $104.99 (regularly $139.99)
    • Sonic Frontiers (PS4/PS5) — $49.99 (regularly $79.99)
    • Uncharted: Legacy of Thieves Collection (PS5) — $29.99 (regularly $64.99

A variety of digital PSN deals can be found here.

Steam

While this is referred to as an ‘Autumn Sale,’ it does coincide with Black Friday, so we’re listing some of the deals here:

Check out all of the Autumn Sale deals here.

Xbox

  • Elden Ring (Xbox One/Xbox Series X and S) — $49.99 (regularly $79.99)
  • FIFA 23 (PS4/PS5) — $49.99 (regularly $89.99)
  • NHL 23 (Xbox One/Xbox Series X and S) — $49.99 (regularly $89.99)
  • Sonic Frontiers (Xbox One/Xbox Series X and S) — $49.99 (regularly $79.99)
  • Xbox Series S — $299 (regularly $379.99)
  • Xbox Wireless Controller — $59.99 (regularly $74.99)

Find digital Xbox game deals here.


For a round-up of all of our Black Friday deals, follow this link. You can find all of the top deals at Canadian retailers here.

Image credit: Bandai Namco

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Mobile Syrup

The Witcher 3’s PS5 and Xbox Series X/S update adds 60fps, Netflix armour and more

CD Projekt Red has offered the first full look at its long-awaited PS5 and Xbox Series X/S versions of The Witcher 3: Wild Hunt: Complete Edition. 

In a 30-minute presentation, the Polish developer outlined some of the new features that are being offered in the free “Next-Gen Update,” which is also coming to PC. (This really should be a “current-gen update” considering the PS5 and Xbox Series X/S have been out for more than two years, but alas.)

To start, there’s the sorts of visual enhancements you’d expect, including 4K support, higher quality textures, improved foliage, more detailed character models and new weather conditions. The game will run at 4K 30fps by default, with options for 60fps (resolution unconfirmed) and ray tracing. A new photo mode to take advantage of the prettier visuals will also be added.

One of the other notable additions is a set of armour inspired by Netflix’s Henry Cavill-led The Witcher series. CD Projekt says you’ll be able to snag Geralt’s new digs as part of a new quest, although specific details weren’t revealed.

While the live-action fantasy show is based on Andrzej Sapkowski’s original Witcher novels rather than the games, the new content is coming as part of an ongoing cross-promotional partnership between Netflix and CD Projekt Red. This came after the release of the series drove The Witcher 3 to reach record player counts on Steam.

The Witcher 3‘s Next-Gen Update will release for free on December 14th.

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Mobile Syrup

Got World Cup fever? FIFA 23 is 50 percent off for Black Friday

The World Cup is here, and that means suddenly, there’s far more interest in soccer football video games than there typically would be with a normal FIFA release.

With that in mind, if you’re on the hunt for a great deal on EA Vancouver’s FIFA 23, we have you covered.

Below are the deals and offers on FIFA 23 we’ve been able to find:

On Amazon, FIFA 23 is on sale on sale for $44.96 (50 percent off, regular $89.96) on the Xbox Series X and PlayStation 5, $39.95 (50 percent off) on the Xbox One and PlayStation 4, and 34.95 (36 percent off) on the Nintendo Switch.

Walmart is also offering the game for the same price, alongside Best Buy. The soccer game is also on sale digitally in the Xbox Store ($53.99), PlayStation Store ($47.99) and Steam (PC – $53.99)

FIFA 23 is available on Xbox One, Xbox Series X/S, PlayStation 4, PlayStation 5, Switch and PC.

For a round-up of all of our Black Friday deals, follow this link. You can find all of the top deals at Canadian retailers here.

MobileSyrup utilizes affiliate partnerships. These partnerships do not influence our editorial content, though we may earn a commission on purchases made via these links that helps fund the journalism provided free on our website.

Image credit: EA

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Here are some of the funniest Pokémon Scarlet and Violet glitches

Pokémon Scarlet and Violet are the latest titles to come out of Game Freak’s and The Pokémon Company’s mainline series.

The two titles feature some of the best gameplay concepts, Pokémon designs and storylines we’ve seen in the series in years. Unfortunately, the game is also plagued by rampant glitches, poor animation and generally bad performance, making it feel more like a Bethesda title than something from The Pokémon Company.

Pokémon is the largest-grossing game series in the world, and even though it’s running on the admittedly underpowered Nintendo Switch, titles like Breath of the Wild and Xenoblade Chronicles 3 are open-world games that perform a lot better than Scarlet and Violet.

While I’m an avid Pokémon fan, and I’m genuinely enjoying my experience in the Paldea region, I wouldn’t recommend the title (which I’ll explain in my more in-depth look at the game coming soon). During my time with Pokémon Scarlet and Violet, I’ve encountered a couple of crashes, nearly minute-long loading screens, frame-rate issues, pauses that make me feel like the game is about to crash, and weird screen glitches — and this is all on top of poor animation.

Granted, I think a lot of these issues could be fixed with a few patches.

Here are some examples of a few of the top glitches I’ve seen people record (to be fair, most of the issues I’ve encountered haven’t been this bad):

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Mobile Syrup

The Nintendo Switch Sports Golf update drop on November 28

Switch Sports gamers will be pleased to know that golf is finally making its way to the motion-controlled game.

Golf arrives on Nintendo Switch Sports on Monday, November 28th, and will be added to the game as a free update.

The golf update features a total of 21 holes from the Wii Sports Golf games.

Users would be able to play Golf locally, while a ‘Survival Golf’ mode would allow for online gaming where eight players can battle it out in one knockout-per-hole format.

Nintendo Switch Sports released in April 2022. The Golf update for the title was initially planned to come out in Fall 2022, but was later delayed to “Holidays 2022.”

Elsewhere, since its release in April, the game received a free update that allowed users to strap a Joy-Con to their legs to play soccer, making the experience far more realistic. The addition of Golf will be the title’s second major update.

Image credit: Nintendo

Source: Nintendo

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Mobile Syrup

Hyperkin is remaking the Xbox 360’s iconic gamepad for modern consoles

Accessory maker Hyperkin is releasing an officially licensed remake of the original Xbox 360 gamepad, offering those who spent time with Microsoft’s golden era console a blast from the past.

The ‘Xenon’ gamepad, named after the Xbox 360’s first internal development codename, looks the same as the now 17-year-old controller, only it now features ‘Menu,’ ‘View’ and ‘Share’ buttons, alongside a 3.5mm headphone jack and USB-C charging. The gamepad is available in ‘White,’ ‘Black,’ ‘Pink,’ and ‘Red.’

It’s unclear how much Xenon plans to charge for the gamepad, but given its massive Duke controller remake costs roughly $120, expect to pay a lot of money to relive your childhood.

bHopefully, Hyperkin has fixed some of the classic gamepad’s key issues, including its splitting joysticks and wonky D-pad that often leans to one side. This is a tough sell for me, even as someone who has fond memories of the Xbox 360 era. Microsoft’s Xbox gamepad hasn’t changed much over the years and has mostly been refined between generations. The Series X/S gamepad is near perfect, and I don’t want to relive the slightly less comfortable Xbox 360-era controller in 2022.

Hyperkin’s Xenon is compatible with the Xbox Series X/S and Windows 10/11 devices. It’s unclear when the gamepad will release.

Image credit: Hyperkin

Via: The Verge

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Mobile Syrup

Sonic Frontiers races to $30 discount in less than 2 weeks

Sonic Frontiers, the supposed triumphant return of the chilli dog-eating, human woman dating hedgehog, has already dropped to $49.99 from $79.99 ($30 off) at Amazon (PlayStation/Xbox/Switch) and at Best Buy.

The game is also available for $59.99 at several other retailers depending on what platform you buy the game for, including GameStop.

When Sonic Frontiers released earlier this month, the title received middling reviews across the board. While critics liked how the game experiments with the blue blur’s typical formula, it suffers from serious graphical issues and an overall bland presentation.

Still, at $30 off, Frontiers is a far easier sell, especially given its shortcomings.

Sonic Frontiers is available on PlayStation, Xbox, Switch and PC.

MobileSyrup utilizes affiliate partnerships. These partnerships do not influence our editorial content, though we may earn a commission on purchases made via these links that helps fund the journalism provided free on our website.

Image credit: Sega

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Happy 15th anniversary to Uncharted, the series that changed everything for me

I remember the day clearly.

It was 2008 and I was in eighth grade math class. Free from our overbearing teacher in a tucked-away corner of the room, my group and I began excitedly talking about video games. As someone who was both woefully bad at math and socially awkward, those gaming conversations were escapist highlights in my time at middle school. Eventually, I mentioned that I recently got a PlayStation 3 and, without missing a beat, the girl at my table asked me a pivotal question: “have you tried Uncharted?” As she raved about how fun and graphically impressive the game was, I became intrigued. “Cool,” I thought, “I guess I have a new game to try out.” But little did I know just how much it would resonate with me.

Greatness from small beginnings, indeed

Uncharted: Drake's Fortune combat

Nate might be a capable fighter, but he’s not always a confident one.

Developed by Crash Bandicoot and Jak and Daxter maker Naughty Dog, Uncharted: Drake’s Fortune debuted on the PlayStation 3 on November 19th, 2007. Fifteen years ago today — can you believe it? Man, do I have a lot of fond memories of that first game. While it certainly shows its age in several ways, particularly the shooting mechanics and level design, it also feels lovably quaint in today’s market of bloated, 100-hour long experiences. Moreover, treasure hunter Nathan Drake’s (Nolan North) quest to find the fabled El Dorado alongside journalist Elena Fisher (Emily Rose) and mentor Victor Sullivan (Richard McGonagle) is exactly the sort of pulpy fun you’d want from an adventure. Thanks to the wonderful creative vision of writer-director Amy Hennig and top-notch performances, the characters were all eminently likeable.

But beyond that, they feel humanand not just because of the beautifully photorealistic visuals. In the late 2000s, Nathan Drake was a revelation. Sure, we’d seen that kind of charmingly rogueish character many times before, particularly in the highly influential Indiana Jones series, but it felt rare for games. Beneath all that bravado lay quite the flawed character, brought to life through a magnificent, believable performance from North. Besides being a thief, Nate suffered from his own insecurities; unlike traditionally badass, hypermasculine gaming icons like Master Chief, Kratos or Marcus Fenix, Nate was rough-around-the-edges. He often stumbled and fell. He screamed whenever a grenade landed a few feet away. He let out exasperated grunts when diving into cover. He’d talk to himself to try to put any fears about his increasingly perilous situations to rest. The way he used humour to mask these insecurities felt deeply relatable, and it further connected me to the character. Even though he would still do pretty crazy things, which later games would only double down on, these little touches of characterization were nonetheless crucial. Most importantly, even 15 years later, this sort of writing, while intentionally lighthearted, still somehow feels natural, unlike, say, the flippant Joss Whedon-esque dialogue we’ve seen in modern media.

All in all, Drake’s Fortune felt like a significant next step forward for storytelling in video games, and it got me even more interested in the potential of the medium.

Nate’s adventures inspiring my own

Nolan North and Brad Shankar at Fan Expo Canada

Me with North at Fan Expo Canada 2015. (If you can’t tell, I’m wearing Nate’s ring.)

But if Drake’s Fortune gave me a taste of what modern gaming could be, its 2009 sequel was the delicious main course. Indeed, Uncharted 2: Among Thieves was, in every conceivable way, a vast improvement upon its predecessor — a remarkable achievement across the board and, to this day, the greatest gaming sequel ever made. The core shooting and melee was tightly improved, level design was greatly expanded to refreshingly afford verticality and stealth options, the globe-trotting plot was more engaging, the cast of characters grew to include more interesting and morally grey figures, and the setpieces, punctuated with Greg Edmonson’s fantastic, eclectic score, were thrilling and immaculately designed. Best of all, Nate himself was taken to another level, thrust into the shadier world of the titular thieves while caught up in a lovable love triangle between Elena and newcomer Chloe Frazer (Claudia Black). The ability to play through a Hollywood blockbuster — several, even, given the perfectly paced 10-ish-hour campaign — is a level of cinematic that games had only dreamed of at the time.

Had Uncharted 2 only featured that masterful campaign, it would still be one of my all-time favourite games. But Naughty Dog also included multiplayer, which was truly a game-changer. The criminally underrated online suite offered a compelling Halo-esque arena shooter setup that emphasized multi-level environments and the ability to fight from any position, including from ledges. It was exhilarating to clamber up to a camper’s perch, pull them off to their doom and then, while hanging, pepper an adjacent enemy with my pistol. In this day and age of battle passes and grind-heavy live services, or even just games that emphasize complex loadouts, Uncharted 2‘s multiplayer is especially beautiful in its simplicity. Factor in additional modes like Plunder (an entertaining riff on capture the flag) and tough-as-nails co-op missions set in sections of the single-player campaign and Naughty Dog had a real gem on its hands. (The addition of multiplayer skins from fellow PlayStation franchises like inFamous and Killzone was also rad.)

Uncharted 2 helicopter fight

The setpieces in Uncharted 2 were leaps and abounds above anything in the first game.

But above all else, Uncharted 2 proved a really big social experience for me. While I have fond memories playing Halo with cousins while in Florida, those visits were infrequent and we never played outside of that. Other multiplayer experiences, like Smash Bros., were also pretty much only local for me. Uncharted 2, though, marked my first real online game. As someone who was inherently introverted, the idea of getting to interact from people within the comfort and safety of my own home was divine. And boy, did I ever. So many hours in high school were spent playing Uncharted 2 both alone and with one of my best friends, Daniel. Even though the game didn’t support local co-op, we had such a time passing around the control and revelling in each other’s online successes and failures. Hell, when I stayed over at Daniel’s house, his mum even had to come down in the middle of the night to stop us from playing. I didn’t have a lot of friends in high school, so getting to bond more with one of my closest pals was quite meaningful.

Pretty much everything I’ve said so far also extends to 2011’s Uncharted 3: Drake’s Deception. Although some half-baked story threads and pacing issues make its campaign a bit of a step down overall from its predecessor, it certainly upped the ante with even more delightfully insane setpieces and a tantalizing look at Nate’s background and relationship with Sully, a fan-favourite character who was sadly underused in the second game. From the early London bar fight and flashback museum chase to fleeing a capsizing boat and hanging from a falling plane, Drake’s Deception is full of unforgettable moments.

Uncharted 3 multiplayer

My friends and I got up to all kinds of hijinks in Uncharted 3 multiplayer. (Seen here: one of us accidentally dropping a ‘Mega Bomb’ Kickback that hilariously killed our entire team.)

Again, though, it was that multiplayer that really got its hooks into me. Looking back, it was definitely busted in a lot of ways. The focus on Call of Duty-esque loadouts led to a lot of imbalance, and the “Kickbacks” — powerful abilities like being able to spawn an RPG or go invisible — often only added to that. But the hell if I cared — Uncharted 3 multiplayer was a blast from day one! After having my mum drive me around the Greater Toronto Area to track down early access beta codes at Subway (remember that strange partnership?), I was hooked. The maps were larger and more varied, the addition of a ‘Buddy system’ was a novel way to encourage and reward cooperation and the steady updates (including neat experimental game types) made me more than happy to keep coming back.

Best of all, I came across a lot of great people through Uncharted 3. I had historically only played games locally, so it was mind-blowing to think that you could make friends without meeting them. But now, being just a bit more confident in online interactions following Uncharted 2, I found myself reaching out more. I fondly remember playing on the Sanctuary map and getting killed by someone with a PSN ID that was a reference to Final Fantasy, my all-time favourite series. Admiring both his skill and good taste in games, I sent him a DM, and before you know it, we shared our real names and started talking regularly on Facebook. We still talk regularly to this day, despite him being in England, and he’s even promoted my work on MobileSyrup and donated to my Extra Life charity streams. Through him, I met another cool person, Scarlett, a fellow Canadian and gaming enthusiast. Despite our different time zones, the three of us thankfully managed to coordinate some play sessions, and they were a blast. Through them, I was introduced to other Uncharted fans on Facebook, which only further helped me come out of my shell. This, in turn, encouraged me to play other games online, and I even made a good friend in the U.S. through Dissidia 012 Final Fantasy.

Nate grew up, and so did I

The recently released PC version of Uncharted 4: A Thief’s End.

Then there’s 2016’s Uncharted 4: A Thief’s End, many people’s favourite Uncharted. That said, I’ll confess that I still prefer Among Thieves and Drake’s Deception; A Thief’s End‘s bloated runtime, pared down melee combat, comparatively fewer setpieces and somewhat grating character of Sam, Nate’s brother, drag down its otherwise exceptional campaign. I also found the multiplayer, which focused on earning money from kills to buy tedious AI-controlled “Sidekicks” to help you, a step down from the previous games. Still, it’s a great game overall, made even more impressive when you consider that Hennig left the project early on and the version we got, led by The Last of Us‘ Neil Druckmann and Bruce Straley, was effectively made in just over two years (If only they didn’t have to crunch on it, though).

And while I didn’t stick with the multiplayer much, it’s A Thief’s End‘s narrative that I still think of often. Druckmann and Straley were candid about wanting to tell “a meaningful human story with complex relationships, complex characters” within Uncharted‘s traditionally lighthearted framework, and boy, did they ever. In fact, the pair did a masterful job in balancing the warmth and levity of Hennig’s work with the more mature and nuanced storytelling of The Last of Us, which was itself partly inspired by Uncharted 2. While Nate had gotten just a bit deeper in every prior Uncharted, it was A Thief’s End that truly made him three-dimensional. His sense of humour remained, but this obsession with adventure — an addiction that leads him to be rather shitty to Elena — felt all too real. The simple, quiet moments in Nate’s domestic life, like reminiscing on old adventures in his attic and even using a toy gun to shoot targets in a dorky-yet-understandable display of his longing for more, truly elevated the character. (Even if, unfortunately, the whole “ludonarrative dissonance debate — the criticism that Nate is sort of a murdering psychopath in gameplay — would still remain.) This deeper characterization led some genuinely heartwrenching scenes between Nate and Elena, where the latter becomes, rather justifiably, distraught over his constant lies and dangerous habits, even as he pathetically tries to explain them away.

Uncharted 4 Nate and Elena

Nate and Elena are better than ever in Uncharted 4.

*Note: Spoilers below for the ending of Uncharted 4*

Best of all, Druckmann and Straley were deliberately misleading in the decidedly somber marketing, making you think that Nate or even supporting characters like Sully or Sam were very likely to die. But instead, they gave us a beautifully heartwarming ending for Nate. In a great cap to his character arc, our hero walks away from his self-destructive path to be with Elena and, in fitting married life fashion, actually compromises — in this case, by them both going on safer, more legal adventures as salvagers. Beyond that, Nate and Elena properly settle with a daughter, Cassie (Kaitlin Dever), who proves to be an endearing “best-of-both-worlds” mixture of her parents. This culminates in an utterly sweet ending in which Nate and Cassie fondly recount their past adventures — those that we, the players, went on in the previous games — while the final shot, set to a more tender version of Edmonson’s stirring “Nate’s Theme,” rests on an image of younger Nate and Sam from A Thief’s End and Nate, Elena and Sully from Drake’s Fortune. It’s a beautiful conclusion that brings me to tears every time.

In many ways, A Thief’s End has deeper resonance because it reflects how the Uncharted series grew up with me. Playing Nathan Drake’s last adventure in 2016, when I was in completely new territory — juggling university, part-time work and dating — hit different. Nate was older, more grown-up, and so was I. He was screwing up, just like me. In a sense, it felt like catching up with an old friend, with all of the emotions that brings. Then, one year later, we got The Lost Legacy, which offered new horizons for the series via different lead characters, Chloe and A Thief’s End‘s Nadine Ross (Laura Bailey). This, too, paralleled my own new path — landing my current full-time job at MobileSyrup. What’s more, I actually got to interview Naughty Dog about The Lost Legacy, which was a surreal opportunity for the dorky kid who grew up playing Crash Bandicoot. 

Uncharted: Legacy of Thieves Collection Chloe and Nadine

Chloe and Nadine proved that Uncharted can thrive without Nate.

At this rate, it’s unclear what lies in store for Uncharted. The highly successful franchise is clearly important to Sony, especially as it just launched a movie adaptation with Spider-Man‘s Tom Holland, but we don’t actually know anything else beyond a planned sequel to that. Rumours have also suggested another studio, possibly MLB The Show developer Sony San Diego, may be working on a new Uncharted with the assistance of Naughty Dog. Given how well The Lost Legacy served as proof-of-concept for a Nate-less Uncharted, it’s easy to see another character (Cassie? Sam? Sully? Someone new entirely?) being given their own game.

But whatever happens with Uncharted, I’m just grateful for the ride. The franchise has been around for more than half my life, and it’s been a constant source of joy and connection during that time. Further, I may very well have not even pursued a career in journalism — fuelled by a desire to one day do something writing-related with games — had I not been inspired by the likes of Uncharted. Happy 15th anniversary to this marvelous series, and thanks for the memories, Naughty Dog.

Image credit: PlayStation

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Samsung expands game streaming to millions more devices

Samsung is expanding its game streaming offerings with support for millions of additional devices and thousands of new games.

To start, Samsung is bringing Gaming Hub, its all-in-one spot for platforms like Xbox Cloud Gaming, to select 2021 TVs. Beginning next week and continuing throughout the year, this rollout includes the 98QN90A, 32Q60A and all sizes of the Q70A and AU8000 series. The company added support for Xbox Cloud Gaming to its 2022 displays in June.

Over the next few weeks, 4K support (at up to 60fps) for Nvidia GeForce Now will also be introduced on Samsung TVs. This will come to 2022 and select 2021 Samsung smart TVs.

Additionally, the Antstream Arcade and Blacknut streaming services will be joining Samsung Gaming Hub sometime in 2023. The former service offers more than 1,500 retro games, while the latter features more than 500 console and PC titles from across the years.

Samsung is also running a holiday promotion on 2022 TVs that includes an Xbox controller and three months of Xbox Game Pass Ultimate for free, although the company confirmed to MobileSyrup that this won’t be offered in Canada.

Finally, Samsung says it’s partnered with comedian Conan O’Brien on a new Samsung Gaming Hub-focused entry in his popular “Clueless Gamer” series, although a release date for the video was not confirmed.

Source: Samsung

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Ubisoft and Riot Games discuss new research project to combat harmful game chats

Ubisoft and Riot Games have announced a new partnership on a research project that aims to help curb harmful player interactions in gaming.

The initiative, dubbed ‘Zero Harm in Comms,’ aims to collect in-game data that can be used to better train AI-based solutions to address toxic game chats. According to a 2021 study by game development platform Unity, 68 percent of players say they’ve experienced some form of toxic behaviour while gaming, which includes, but is not limited to, “sexual harassment, hate speech, threats of violence [and] doxing.”

Ubisoft, the French publisher behind franchises like Assassin’s Creed and Rainbow Six, and the U.S.’ Riot, best known for League of Legends and Valorant, are both members of the Fair Play Alliance, an international coalition of game companies aiming to improve in-game conduct for all players. As part of those efforts, Zero Harm in Comms intends to create a database that can be shared across the industry and implemented by companies into their respective games.

To learn more about Zero Harm in Comms, MobileSyrup sat down with the two guiding forces behind the project: Yves Jacquier, executive director at Ubisoft’s La Forge research division, and Wesley Kerr, head of technology research at Riot Games. The pair explained how the partnership started, how Zero Harm in Comms will work, their efforts to maintain privacy during data collection and more.

Question: How did the partnership between Ubisoft and Riot first come about?

A soldier rappels down in Rainbow Six Siege.

Rainbow Six Siege (Image credit: Ubisoft)

Yves Jacquier: It all started with discussions between Wesley and I. We’ve been working separately on such topics of trying to identify toxic contents in chats, in communications, in general. And basically, we had R&D discussions acknowledging that it’s a very complex problem, and that it’s a problem that we would be way more efficient to tackle together. But there is a lot of difficulties to goal — questions such as, how do you share data between two different companies while obviously preserving the privacy and confidentiality for our players? And being compliant with things such as GDPR [Europe’s General Data Protection Regulation], for example? And then, on top of that, how do you create efficient AI to really understand the intention of chat lines to be able to make a recommendation? So we thought that because it’s a complex problem, and it’s an industry-wide problem, we thought that our two R&D departments should partner into a common R&D project.

Q: Can you explain the research project a bit more? How does it work and how will it assist with AI-based moderation tools?

Jacquier: Let’s take a step back. Here is how the chat moderation interval works. You send some contents, a chat line, and then behind that, you have tools that are able to predict whether it’s natural, it’s positive, or it’s harmful content. The problem with the technologies that you can find from the shelf is that, most of the time, it’s based on dictionaries. So you have a long list of profanities that you don’t want to see in a chat. But the problem is that it’s very easy for players to bypass that. You can be very creative at spelling thousands of different ways of certain profanities. And on top of that, you can have new words, new slang, that come out of the communities.

So the idea here is twofold. First, try to find a way to gather enough examples of chats with labelled data. So being able to say that ‘this line is considered neutral,’ ‘that one is considered racist,’ for example, and with these data sets, be able to use that to train an AI with all those examples. So that when there is new content, the AI can make a prediction that this new content is either classified as neutral, racist, and so forth. So that’s really the idea.

Then the question is, ‘how will it have an impact on the player?’ This is way too early to tell, in reality. Because first, we need to make sure that we’re able to create these datasets, which is already very complex. If you want to do something [with] data, which is on the one hand valuable, while preserving privacy and confidentiality… And then it’s an extremely complex problem to try to get the general meaning of a sentence to make a prediction. So you have both a notion of reliability, which means what’s the percentage of harmful content you’re able to detect on the one hand — we want that to be very high. But by the same token, you want to have as few false positives that you that can have. You don’t want to tag an acceptable line as being a profanity, for example. So, before we are able to have clear ideas on that, it’s difficult to know exactly how it gonna directly work into our pipelines.

Q: What does the collaboration look like between Ubisoft and Riot? What’s the back-and-forth look like? Are you working with any external consultants to help bring the project together?

League of Legends

League of Legends (Image credit: Riot Games)

Wesley Kerr: So in this case, we’re starting just collaboration between the Ubisoft and [Riot]. There are at least two phases to the project — we’re in the first phase where we’re trying to identify what data we can share, how we can share it safely to preserve the privacy of our players, and then sort of work towards gathering those datasets that we can share between us and build that central dataset. So that process involves deciding how we want to label the datasets. And then we’re sort of following the framework provided by the Fair Play Alliance to discuss how we we label disruptive behaviours in comms. And then we take our labeled data, we scrub it of any PII [personal identifiable information] to make sure that we are compliant with the most stringent GDPR, etc, those legal risks, and then we take that label data, we put it into a shared place and then we move on to the next phase where we actually start building the models that [Jacquier] mentioned. And then once we start building the models, we see how well we can do. That will probably provide additional signals for what data we need to go gather, collect and iterate there to improve the models until we reach sort of the end of the project, which we scheduled to be around July, where we can talk more broadly about the results of what we’re able to achieve during this shared project.

Jacquier: I would simply add on that: let’s keep in mind that it’s R&D projects, so we take it like that. And we found that we have similar mindsets, in terms of our two teams, which helps a lot when you try to tackle this kind of issue. Which is why we’re not involving consultants — we’re trying to put the best people that we have in both our R&D teams to try to pave the way and create the first learnings that we’ll be able to share next July.

Q: You both touched on the idea of privacy, which is an important subject. Of course, this is still early phases and it’s an R&D project so things are in flux, but what steps will you be taking to ensure that players privacy is being maintained?

Kerr: We’re working to make sure that the only data that we share has all personal identifying information removed. And so we’re using different tools, internally built and off the shelf, to detect those sorts of things and remove them from our datasets. We are also only collecting the bare minimum that we need in order to make progress on that problem, which is sort of why I highlighted that iterative approach. So we’re starting with as little data that we can share as possible. And then we’ll add more if we think it’s needed to improve the models. We’re not just sharing everything carte blanche. And then we will only keep it for as long as necessary and protected each as if it were our own so to ensure that the privacy is there.

Jacquier: I think that covers anything. Also, we’re not specialists of GDPR, right? We’re data scientists, researchers, so we got support from the people who helped us to ensure our compliance as well in what we can do and what we can’t do. So we want to make sure that if we want to ensure player safety, it starts there. It starts by making sure that at the very inception of the project, we do not try to reinvent the wheel. But we try, conversely, to make sure that we are conservative in terms of data information about the player that we have to share, just like [Kerr] mentioned; we want to be to have the the lowest footprint as possible, while making sure we have a very efficient AI at the end of the project.

Q: A key reason you’re doing this it to crack down on toxicity in games, which unfortunately happens a lot. Some players just sort of accept that it’s something that happens, but obviously, we can still do more to try to fix that. As game makers, why is it important for you both to do something like Zero Harm in Comms?

Fair Play Alliance gaming toxicity

Data from the analytics firm Newzoo, cited by the Fair Play Alliance, that outlines the effects of harassment in games.

Jacquier: I think both Riot and Ubisoft are trying to create the best experience for players. So obviously, there are things that we do not control at all, which is what happens on public forums, for examples, external forums. There’s a thing that we somewhat control, which is the gameplay and the metagame, and whatever happens inside the game itself. And then there is what we want to improve, which is the flow of communication between players, and making sure that we have to acknowledge some players might not behave the way we want them to behave. There’s not much we can do directly on that, except, because we have zero tolerance on that, to try to make sure that we are first able to detect such harmful content, and then be able to create consequences, or to send a clear signal and educate all players in that. But it has to be fun for everybody and it cannot be fun if it’s not safe.

Kerr: I think the only thing we would add is we do aspire to be an industry leader in providing players with safe gaming environments in both client and game experience. We’ve taken lots of different approaches to this. It’s not just this one area. We’ve looked at names, we’ve looked at intentional feeding [when a player purposely dies to help the other team] and leaving…  We’ve looked at lots of different ways to try to improve that player experience. This is one more push at that and I think internally, we’ve also built out a dedicated player dynamics discipline that’s looking at the punishment side, as well as the positive side of play. So how do we reward positive play and punish negative disruptive behaviour? And so all of that goes into sort of why why this investment is being made up.

Q: As you said, this is an iterative process — the first step of an early research project. Once you share the findings next July, what are you hoping to achieve in the next step as you open this up to industry partners?

Jacquier: It will depend on the results in terms of blueprints first. If we are able to create these blueprints, then we can start working together in terms of AI, and then it will be easier to imagine what the next steps are. So it’s really what we’re focusing on right now. But because we acknowledge that it’s a complex problem — so complex that most of the time it’s difficult, industry-wide, to go beyond recommendations, to go beyond trying to share good intent on that — if you want to be practical, we need to provide with some sort of practical blueprint. It has to be easy to share data. It has to be safe to share data. And then we are confident that we have find a decent blueprint that assures both sides that it’s easy and it’s totally safe in terms of privacy and confidentiality, then, and only then, we will be able to add new new people to to help in this endeavour. So whatever we’ve learned, we will share that in July. And based on what we’ve learned, we’ll be able to decide on the next steps.

Q: Zero Harm in Comms is trying to handle people in the midst of communication. What sorts of other steps do you think should be taken by the industry at large, not just Ubisoft and Riot, to improve behaviour from gamers before they even start playing? Because Zero Harm in Comms aims to react to that, which is a good step, but what can be done on a larger scale to reduce those sorts of toxic mentalities?

Jacquier: I cannot speak for other companies. All I can say is that for Ubisoft and obviously Riot as well, it’s a very important topic. We’re definitely not claiming that we have the perfect solution to solving this problem. What we’re trying to do is, based on the type of games that we have, the different kinds of communities and games that we are operating, we’re trying to find a common practical solution to solve one key aspect. But in reality, once again, it will be one tool in our toolbox, and the toolbox at Ubisoft is different from the toolbox at Riot. However, the intention of Ubisoft seems to be extremely aligned with Riot’s intention to have zero tolerance on that. So the recipe might be different, but as an industry and even beyond the gaming industry, we need to do something to make sure that we keep the online space safe for anyone.

Kerr: The only thing I’d add to that is our ability to work with partners in and out of industry to share the knowledge and grow our solutions to the complex problems that [Jacquier] has alluded to is going to not only impact our players, but everyone online, because people can take those recipes of what we’ve learned and bring them to their own players in their own communities.

This interview has been edited for language and clarity.

Image credit: Ubisoft/Riot

It should be noted that both companies have been accused of fostering toxic work cultures. At Ubisoft, there were numerous reports of misconduct, especially towards women, that started coming out in 2020. Company CEO Yves Guillemot apologized and promised change, which so far has included terminating a number of accused employees, hosting awareness workshops and appointing a VP of diversity and inclusion. However, employee advocacy group A Better Ubisoft said in September that progress has been “painfully slow” and a number of the alleged abusers remain at the company. 

Riot, meanwhile, will pay $100 million to more than 1,000 women as part of a 2018 gender discrimination lawsuit. The lawsuit came about following an investigative piece by Kotaku in which many women accused male employees of grooming, sending explicit images and senior staff sharing a list of which women they wanted to sleep with, among other transgressions. In August, several employees told The Washington Post that significant cultural improvements have been made, although some criticism was levelled at mixed messaging regarding social media policies and diversity efforts.