As the years go by and current hardware becomes increasingly incompatible with the past, the first Gothic gets harder and harder to play, making it the perfect target for a remake. The 2001 RPG is a cult classic for a reason, ahead of its time in worldbuilding and nuanced NPC interactions. While Gothic 1 Remake pulls the original into the near-modern era in terms of presentation and controls, it doesn’t touch much else. This is a mixed blessing. It’s great because Gothic already forces a higher level of engagement and immersion out of those who play it, refusing to hold your hand in a way that still resonates in 2026 – but it’s own sparks of brilliance are regularly challenged by the poor quality of its story, the inconsistent pacing of quests, and shallow combat, and none of that has changed either.

I first played Gothic soon after The Elder Scrolls 3: Morrowind, which came out around the same time. I immediately identified them as similar games in many ways, but different in at least one stark one: while they are both dense worlds designed to get lost in with lots of mysteries to find and foes to fight, Morrowind invited and encouraged me to fulfill my destiny as the hero of its clandestine peninsula, while Gothic couldn’t care less about my survival, my progress, or my fun.

Ironically named the Hero, you’ll spend much of the first half of Gothic feeling like anything but. From the moment you are dumped into The Colony, a work camp and open air prison surrounded by a magical one-way barrier, you are met with tribulations as grand as the complicated political climate that the survivors here live in and as small as the tiny critters that can one-shot you in combat if you’re not careful.

This remake’s best upgrade is easily how it looks and sounds. Gothic had a unique style even back in 2001. It was the definition of “doing a lot with a little,” thanks to low-poly models with muddy details arranged and colored in ways that really evoked a sense of place many bigger budget games didn’t. The forests have big trees that block out the light from the sun, which is a huge contrast to the brick and mortar ruins where people are making new lives. All of this has been enhanced, with modern lighting and models that make the old castles and caves of the Valley seem more like real places. The grassy and rocky lands that make up the uncivilized spaces between The Colony’s settlements look verdant and appropriately wild now.

The audio design was always strong, too, especially in the sound effects and ambient nature noises. All of those are more robust than ever, even if the droning background music selection isn’t all that special. But the best enhancement is the completely revoiced script. The original Gothic had some abysmal voice acting and this remake does a great job upping the bar to at least “good.”

Despite the visual upgrades, Gothic is still fairly buggy. It was rare that I ever straight up crashed, but more common were weird AI behaviors. Sometimes I took a bunch of monsters just watching me run past them without any reaction whatsoever as a win, counterbalanced by all the times I had to load a past save because an NPC that I was supposed to follow got stuck, the quest I needed to finish trapped with him. For a solid chunk of Act 3, an NPC I had to recruit for a quest just followed me around aimlessly. That poor ore digger has seen things no man should…

Gothic’s difficulty is baked into its design in ways that aren't simply enemies that hit you hard. It starts with how little you are even told about how to play. The remake does you a favor the original didn't, including a small glossary of important controls for how to do basic things like pick up items and attack with bows. Otherwise, most of what you learn comes from trial and error. For instance, the lockpicking minigame, though not overly difficult to understand, is something you just have to throw yourself against until you get it, even if it means wasting a ton of picks. Thankfully, the modernized control scheme and the inclusion of controller support help sand down some of the early game edges that came from a basic inability to interact with the world around you correctly, which does get you off the blocks and into the ore mining rat race more quickly.

Combat also benefits from the revamped controls, making it easier to swing at and hit enemies. This does not make combat easier overall, however, which is still just as dangerous as it was 25 years ago. Your hero starts off weak, and even lowly molerats can send you to the game over screen in a hit or two. Leveling up gets you Learning points you can spend at trainers to raise your stats, which goes a small but gradual way towards making you dangerous in your own right. Once you get stronger gear, you stand a better chance, but weapons of any real note can be a big investment early and armor even moreso, the latter being the biggest factor in surviving more than a few blows.

You'll be pretty bad at handling any weapon you pick up without training. It's cool to see the difference between wielding a one-handed weapon untrained vs trained (or eventually mastered). Untrained, you clutch a short sword with both hands for dear life, flailing awkwardly with every swing, while trained attacks can flow into combos with the proper timing, and can critically hit enemies. This is a fun example of a game’s storytelling goals being met with both interactive and non-interactive elements at the same time, but it still means that melee combat feels bad for a large chunk of the early game, only getting better if you can scrounge together enough money and save up a couple of levels worth of Learning points to get trained. And even after that investment, while the act of swinging a sword feels better, the actual action never evolves beyond standing in front of bad guys and bashing them until you or they are dead.

Leaning on ranged attacks from a bow or crossbow is the safest (and most costly) early game option, and though training makes your shots more accurate over long distances, it's an approach that evolves even less than melee. Magic does help both of these strategies, with offensive spells that are just better ranged attacks like fireballs, or support options that can change the size of enemies or summon monsters to help you out. Some of these spells can even have out-of-combat utility, like transforming yourself into a bloodfly so that you can fly from place to place and cut down travel time. But magic doesn't become a real factor until the mid-game, and by then you’re probably pretty well invested in other skills and stats, making the pivot to a “magic-based” build a hard task unless you plan well in advance.

You can learn all sorts of other skills that affect how you play, like investing in acrobatics so that you take less fall damage but also get a dodge roll. Every time I made a big investment in a skill or equipment, these changes were noticeably impactful. I got stuck on a boss for a while, and when I finally decided to try out Remake’s new branching armor paths (which allow you to improve armor in stages) it made the difference. But it often felt like I had to grind either to make Gothic 1 Remake feel good to play at all, or just to raise my stats so that I could endure cheesy enemy attacks for long enough to hit back. I never had to gain any actual skill, I just had to be more annoyingly determined than my enemies. I guess there's some sort of message in there somewhere?

Information about this world has to be teased out of it, either by talking to its denizens or picking up context clues from the environment. When agreeing to quests, don’t expect objective markers to appear on your map to guide you. Hell, don’t even expect a map at all unless you plan to buy or steal one first. Especially in the early hours, Gothic trains you to pay close attention to what you see and hear. It can feel daunting at first, trying to remember where specific NPCs are at certain times of day or establish who the most important people in town are based on their jobs or how other people talk about them. Your screens are free from the tooltip detritus of modern games of this ilk, but the reward for engaging with the Gothic at this level is how great it felt every time I could navigate to a point of interest on the map based on memory and context clues alone.

Unfortunately, the overall story of Gothic doesn’t fulfill the promise of its great setting and world. The denizens of the mining colony have basically revolted and set up several microgovernments, each with their own hierarchy, economies, and organizational goals. You’ll need to join in with one of the three camps early in order to get a stable foothold in the region and start working towards your own personal agenda. Each of these camps are unique from one another and present different social and moral quandaries that are really cool to exist among. The Old Camp is the largest and most established and does the most direct interaction with the outside world, but it's also the most obviously corrupt. The Swamp Camp is a cult-led theocracy out in the wetlands filled with people who pray to a new forbidden god now that they are out of the reach of the mainland church. The New Camp is a hodgepodge of people who don’t want to live in the former camps, and is largely a pretty ruthless meritocracy where the strong and capable can have anything they want.

I spent my playthrough getting into the good graces of the Old Camp, which meant impressing its leader, Gomez, enough for him to elevate me into his troop of personal guards. To do that, I had to spend a lot of time in the camp schmoozing his people enough to vouch for me, which meant doing favors for them or catching their attention in other ways. It also meant navigating the social structure of the place, sometimes the hard way. Elite guards patrol different sections of the camp and run protection rackets for the people in their districts. They would constantly try to shake me down for money in a “it would be a shame if something happened to you” kind of way, and more than once co-conspirators would try to set you up to have that thing happen to you if you don't. They all have allegiances to their own paying customers, of course, so if you get into a fight in a place where you didn’t pay a guard but your opponent did, they will act accordingly.

This attempt at immersion doesn’t always land consistently, though. While most citizens in these settlements are pretty vigilant against weird and potentially criminal behavior by you, it's easy to avoid any real consequences if you're caught. People will stop and make a fuss if you walk into a house uninvited, but so long as you leave before someone starts swinging, everyone goes back to normal. I was caught more than once failing to pick the lock on someone's personal treasure chest, but I simply walked out of the room before they questioned me and they never brought it up again. It's the kind of videogamey stuff that happens all the time, but it stands out as odd in a game that has such an emphasis on character behavior and relationships.

Not every camp approaches social dynamics the way the Old Camp does, but in the early parts of Gothic at least, you’ll find a surprising wealth of these social lattices. Lots of early quests put your dedication to joining a camp in direct conflict with your relationship with a different camp, meaning choices can have pretty definitive outcomes depending on how you navigate them. One quest had me chasing a guy out of town at the direction of a guard captain, only for a different guard to get mad at me about it because that person was his main source of smuggled goods. This sort of dynamic-feeling social structure was always Gothic’s biggest strength and it goes untouched in the remake. That unfortunately also means that when the main story finally gets into full swing and the rote “save the world” tale spins up, the complete shift away from all this nuance makes the back half of this game comparatively boring. This is exacerbated by just how jarringly paced the quests in the final acts can be. So many of them require meeting the only guy who can help you do a thing, but proving your worth to that guy then means hunting X of a certain monster first. It feels like homework, not heroism.

That isn’t to say that the parts that work are perfect, anyway. You’ll fight boredom throughout thanks to the uneven story pacing in every act, even with this remake’s occasional attempts to smooth the transition between major plot points by changing a quest in key ways. Back to the Old Camp example, you can impress everyone you need to impress to get a meeting with Gomez, but you still can’t actually do that until you hit level five, which means you may have to go out and grind or spend some time in other camps you don’t intend to join just to find some way to get enough experience points to meet this arbitrary goal. These gaps spent wandering around doing busy work were at least sometimes rewarded by small but neat discoveries in the wild early on, though those were mostly a new plot point that let you feel your way through the dense tapestry of the world some more.

The Remake does bring a wealth of new sidequests that gives you many more opportunities to submerge into and affect the world in small ways. One that lets you get a measure of revenge on a jerk you meet very early on is among the best, but my favorite is easily when you learn the tricks to train your very own rideable scavenger bird (think dinosaur chocobo). As a returning player, the process of discovering genuinely new things to do was just as pleasant as it was to see all the regular stuff the first time. Which is to say, it was often just as interesting and valuable as it was tedious.

The Dungeon Crawler Carl books have become incredibly popular over the past few years, but 2026 has been especially good for the LitRPG series. Not only did Matt Dinniman publish the eighth entry in the series, we also got confirmation that there's a TV show in the works for Peacock. Perhaps the biggest news for the series, however, is that we're getting a tabletop roleplaying game.

The DCC RPG crowdfunding campaign launched on Backerkit back in April and raised an obscene amount of money in a relatively short time. The upcoming tabletop adaptation from Renegade Game Studios gathered over $13 million for the project, absolutely demolishing its goal of $250K. For those who missed the chance to back the project, the good news is you can now preorder the core rule book and miniatures directly from Amazon.

At the heart of any TTRPG is a core set of rules you'll need to follow. This rulebook is pretty much the only thing you need to actually start playing, but additional miniatures and such definitely add to the experience.

As for what gameplay actually looks like, you can check out the official 'How to Play' guide on YouTube.

According to that guide, the RPG is heavily skills-based with "no limit to the types of skills players and GMs can design". The skills come in four main categories:

Similar to Dungeons & Dragons gameplay, players will use a 20-sided die for various skill checks throughout the story. Only the players will be rolling dice, however, with GMs never touching the d20 at all.

The first set of miniatures up for preorder is officially called The Royal Court. This includes nine total miniatures of the main characters, all of which have been a part of the Royal Court of Princess Donut throughout the books. The list includes: Carl with a bomb, Carl with Princess Donut, Carl with his Xistera, Princess Donut, Princess Donut riding Mongo, Young Mongo, baby Mongo, Katia, and Samantha.

The second set of miniatures are focused on Allies and Enemies outside of the core characters. There are a total of 10 pre-painted figures included here, focusing on key side characters outside of The Royal Court. The list includes: Hekla, Eva, Prepotente, Bianca, Lucia Mar Night, Lucia Mar Day, Quan Ch, Florin, and Lucia Mar's dogs Gustavo 3 and Cici.

Amazon doesn't include much information about what's included in the starter set, but according to the Backerkit page, it "focuses on the tutorial floors, teaching crawlers how to survive in Borant’s World Dungeon".

Jacob Kienlen is a Senior Audience Development Strategist and Writer for IGN. Born and raised in Portland, Oregon, he has considered the Northwest his home for his entire life. With a bachelor's degree in communication and 10 years of professional writing experience, his expertise is spread across a variety of different pop culture topics -- from TV series to LitRPG books and the latest Pokémon games.

The upcoming genre-blending “musical Lovecraftian renovation” game There Are No Ghosts at the Grand has announced Broadway actor and singer Alex Brightman as the voice of its lead character, Chris. Brightman has been nominated twice for Best Actor in a Musical at the Tonys — in 2016 for School of Rock and 2019 for Beetlejuice. He’s currently starring in Schmigadoon! on Broadway and voices multiple characters on the animated series Hazbin Hotel.

The reveal comes on the heels of the game taking the top prize among 12 submissions at the 25th anniversary of the Tribeca Games Festival in New York City. There Are No Ghosts at the Grand is the debut from British studio Friday Sundae, and I had the chance to play a 30-ish minute demo and speak with Anil Glendinning, Friday Sundae’s co-founder and managing director, at the Tribeca Festival ahead of their win.

Glendinning emphasized just how bootstrapped the studio is, which has allowed for a highly nontraditional but collaborative development process especially in casting. For the main player character, “we wanted someone who’s able to be sinister, but also funny and sincere, but also shady and a little bit of a liar,” Glendinning said. “By pure chance, we came across a clip of Beetlejuice on Broadway, and just on the off chance I thought, THAT guy would be really funny in the game. By pure luck, we were able to make a connection with him through some of the other video game people that we knew, but it was just pure chance. We’re big believers in providence.”

That scrappy approach applied to how they found most of their actors, some of whom are musicians and singers first. Glendinning said they’d adapt the game’s characters to the performers themselves, including each of the leitmotifs. “It actually comes from the style of music they naturally perform,” he said. “We would alter characters based on the actors and musicians we were working with. There’s a lot of different influences that come into making this unique collaborative blend we created, rather than coming from the auteur perspective where there’s a singular genesis and a unified vision. It’s very much a collective effort with a small group of artists, musicians, developers, and writers to put something together, and I think that’s why it feels so eclectic.

Friday Sundae didn’t set out to make a musical-forward game, but the songs “spoke so much about the characters as well as our multicultural cast,” Glendinning said. “Lots of games have lyrical soundtracks. There’s only a short leap from what South of Midnight did to what we’re doing.“

Glendinning said they treated this process “like a band.” They’d give their voice actors scripts as they were coming into the studio and encouraged them to improvise against Glendinning. “It feels smarter than it is in part because we are so flexible because we do use some of the lines they say when they think they’re not being recorded [laughs]. [Brightman] said, ‘If you want to use that then use that, that’s just me being me.’ We were like, ‘You just be you.’”

“The only thing we’re not allowed to use is when they start swearing because we’re aiming for a teen rating,” Glendinning said.

There Are No Ghost at the Grand is available to play as a demo on Steam now and is expected to come out later this year on PC and Xbox.

Leanne Butkovic (she/they) is an Editorial Project Manager at IGN, where they've also written about TV, movies, and games.