Following Sony and Sucker Punch’s recent State of Play presentation diving deep into Ghost of Yōtei, we had a chance to speak with that game’s co-creative directors Nate Fox and Jason Connell. We dive deeper into some of the new features, like the game’s structure, camps, and navigation, made sure the fast-travel load times are as shockingly fast as they were in the first game, and tried to learn a little more about protagonist Atsu’s Ezo wolf companion.

Game Informer: Why set the sequel so far after Tsushima? It takes place about 300 years later, right?

Nate Fox, creative director

Nate Fox: A little bit less. The game takes place in 1603, which is a pretty interesting time in Japanese history. The warring States period just ended. Peace has broken out across the land, and all of these warriors suddenly don't have jobs anymore. And a number of them went to Ezo, modern day Hokkaido, which is in the far north, which is the edge of Japan.

And this place is a lawless wilderness, right? Very, very dangerous, packed with people. With weapons. And some of them have chips on their shoulders. You take that kind of powder keg and you put it alongside this unbelievably beautiful landscape of Hokkaido. It's just gorgeous. This is the kind of spot you want to put your open world video game right? It's exciting.

So hence the game takes place in 1603 where we get to know this new hero, Atsu, in an origin story that we're really excited to tell.

Will there be ties to Tsushima beyond the mechanics and Japanese setting? Are there going to be narrative ties to Jin Sakai’s story?

This game is very much its own story. It is a spiritual sequel. You don't need to have played Ghost of Tsushima to jump right into Ghost of Yōtei. It is a game where the player is considered something of a ghost. Atsu is considered an Onryō, an avenging spirit, by the people of Ezo because she keeps living through all of these attempts to get revenge, and she becomes a walking legend in the land that she explores. Her reputation precedes her. In this way, it's similar, but it's very much its own story.

A lot of research went into both of these games. Can you tell me a little bit about what that was and what that entailed?

Jason Connell, creative director

Jason Connell: The research is, as you suggest…, it's not only a lot of enjoyable work. We get to have a lot of fun watching great movies, building relationships with new advisors that kind of help us understand the thoughtful and tasteful ways to make decisions on the game. But it's also just necessary, right? Like, if we're going to make a game as… you know, our studio is a West Coast Studio in the United States and we’re depicting this culture. It feels like you have to be this tall to ride. You have to do it and then there's doing it really well.

We’re so lucky that we've found so many great advisors to help us in this game. In particular, a number of folks have helped us; [...]Nate and I got to go on a research trip again for this one. It was really kind of focused on Hokkaido at large and we spent a number of days, like nine or 10 days or something like that, just all over Hokkaido. And we actually got to meet some members of the Ainu community and one of them is actually one of our advisors.

The family helps advise on the game in a number of ways. There are scripts that they were involved in, or even the patterns. If you ever look at the Ainu they have these beautiful, elegant, awesome patterns and they helped us understand the reasoning behind the art choices of those patterns. It is something we just have no idea about and so they totally help us.

They understand that we're making a piece of entertainment for a global audience, and understanding how to depict their culture in a thoughtful and respectful way? That's really important to us. It's a lot of work upfront, but it all pays off in the end.

Was there anything in that research that surprised you? Maybe something players might be surprised to learn is accurate?

Here’s a couple. I don't know how people will experience it, but here are some things that were just shocking to me in different ways. Like, for example, the name of the game. We visited this lake that overlooked Mount Yōtei off in the distance. Nate and I had a similar, beautifully reflective moment. The same type of moment. Tsushima – remember the river? And then here, it felt like it was Yōtei. It was just this gorgeous kind of mountain we saw midway through our trip, so we've seen a lot of beauty. But that moment, I felt like, “Wow, Yōtei means something.” And it was starting to shape up at that point in the art of our game and the story of our game and where everything takes place to be sort of a centralizing point and all these kinds of things point together and then eventually, it all goes to Yōtei. It was a really flagpole sort of moment for us and sort of how the world kind of came together even to the point where it is the name of the story.

And the other one is the wolf is actually a real wolf. It’s an Ezo wolf that is extinct. So it's awesome to be able to show this ferociously awesome animal.

Nate Fox: They’re big!

Jason Connell: Yeah. But they're not around. So, to celebrate that and to sort of have that in our game and people might not know that. It's just fun that they get to experience that even though they're not real anymore. They don't exist anymore.

The quest structure is open in Ghost of Yōtei. Is it structured as wholly open where there are six people you must kill and you can go after them in any order or direction you want?

So to be clear – it's not that. It’s not that you can pick any order of the six. And I'll tell you why. Nate and I and the studio – and you've played a lot of our games – we really believe in the structure of story. It's really important to us that we develop great characters with good arcs with beginning, middles, and ends. You got to have that, right? That is true. There is an arc with a structure in place. But at the same time, one of the aspects from Ghost of Tsushima that we wanted to not only carry forward but just do an even better job of, was that sense of curiosity and freedom of exploration that the game delivers upon.

And so you have this delicate impasse of, if the story's just perfectly linear and you are just forced on the gold path all the time, you might lose that opportunity for people who just want to explore the landscape. But if you go too far on the other side, you might lose the structure of the story. So, the balance, without giving away all the details, is there is a structure there. A very important structure. But the way it's presented in the first few hours of the game, especially that first section, is it is really about us delivering to you which aspects of the Yōtei Six you want to go after first. There are some options that might lead you in some interesting areas.

I kind of mentioned it a little bit in the State of Play: if you're into sort of ninjas and snow stuff, then this story over here might be more interesting for you. If you're into these castles and these fire weapons, then this area might be for you. But you can bop back and forth between the two of those major areas.

There's a bit more choice in there, but there's still a linear story structure that we really believe in to make sure that Atsu’s vengeance quest tears at the heartstrings. That's the ultimate goal.

Speaking of heart strings, you’re able to instantly switch to the past to learn about Atsu and her family when she was a child. Where and how often can you do that?

Nate Fox: There are few places in the world that have a lot of memories for Atsu. When you go to these locations, you can hit a button and instantly be transported to the past. You control young Atsu in these locations. You can go back and forth as much as you want in the moment to see maybe how this location has changed, what it looks like right now as an adult, and what it looked like back in your youth. And we want to give players the freedom to kind of go back and forth and to experience some gameplay as a kid so they can recall what it is – so they can feel what it is that Atsu feels. What she lost when her parents were taken from her.

I'm also curious, in a much less emotional way, how it works technically. Tsushima had incredibly impressive load times, even on PlayStation 4. Is this one of the ways that you're taking advantage of PlayStation 5? Swapping to the past?

You're absolutely right. It is because of the PlayStation 5 that we can do this flipping back and forth. It's very powerful business to have both of them on at one time. And it's allowing us to give you that experience of spending time with your brother and your parents and getting to know them, because, of course, your whole family got wiped out, right? I'm glad that we have that opportunity to give players exposure to that in this layered fashion.

Jason Connell: It absolutely helps in the memory feature to be able to just mash the button back and forth and see all the cool things change very quickly in a really cool, poetic way.

But honestly, there's a whole host of things that we also got to improve upon. There's much, much further sight lines making the mountains feel so far away. The team did just such a great job making them feel epic and large and big. The terrain tessellation, we've done some work on there, higher-fidelity rendering for far terrain. In general it just looks much higher quality than some of our far away distance stuff in the past. There is a bunch of localized volumetric fog. We love the fog and we had more of just standard fog in the last game and it was beautiful and really well done. But now there's actually localized volumetric work. We did some work on low lying clouds and we improved skin and hair rendering.

At some point we're going to do a, “Here's all the cool base and Pro sort of features,” and we'll outline it all. But one of the great parts of working on the second installment of something is that you get to take all those features and iterate on them in a way that is not just, “Ah! Photorealism button. Who cares about that?” It's about the artistic expression that we're going for. The art. There's a style to Ghost that is really important. And it's not just pure photoreal, though photorealism has an aspect to it. It's really taking that style, bringing it a little bit more forward and developing features that help achieve our visual and aesthetic and emotional and tonal goals. Like creating the aurora borealis. We didn't have that in the last game. Being able to create effects that go into the skybox. These were the things we didn't have. And they're not just buttons of photorealism and rendering. They're directed by the experience that we would like to have.

Fast travel – still super quick? Ghost of Tsushima has some of the fastest fast-travel loading of any game.

Yep. Super fast. It's a convenience thing, right? That's not going anywhere because people like it so much. But yeah, it's pretty quick.

I know you told me all these wonderful technical things and I'm just like, “But when I want to go somewhere else, I can go there really fast, right?”

Yeah. People love it.

Nate Fox: You can!

The wind navigation system is crucial to Tsushima. It's one of the most memorable aspects of that game. We saw a little bit of it in the State of Play, but I was curious how it has been iterated on for Yōtei.

Jason Connell: The wind system – there has been some iteration on it. Ezo is such a vast place that we have developed some features for the wind to sort of guide around big objects. The last game it was just linear. It was just like, “Point to the place and you go there!” Doesn't matter if there's a giant cliff there or not. And now we have actually a little bit of a system to help guide around some of the major obstacles, to make it a little bit more of an improved experience for such a vast world.

Traversal is super helped with the experience versus it being linear. But on top of that we just did a whole bunch of other exploration-forward features, because wind is birthed out of the feeling that we want to create a diegetic experience where we want you to be in the game world so you can keep looking at the game world as much as you can. We’ve augmented that with a couple of other features like the shamisen Atsu carries on her back. You learn certain songs and those certain songs will guide you to certain things. There's lots of things that we've created like that, like the wind, that are just nice additions to that diegetic exploration experience.

How did the new Miike and Watanabe director modes come to exist? Did you meet Miike and Watanabe? What were those meetings like?

Yeah, we did meet with them. First, I should say that these modes, especially for the first one, the Akira Kurosawa mode in the last game, was birthed out of our just love and joy. We were like, “We should have a black and white mode,” because there's so much of these films that we've watched over and over again to sort of learn the nuances of how to bring those moments to life. And that birthed into, “Oh, I wonder if we could partner with the Kurosawa estate and see if we can get his namesake in it.” That ended up working really well for us and we felt that was a great fanfare for people that care about this stuff as much as we do.

And then moving forward – well, we have that again. And we were very excited that they would like to partner again. So we did. And we thought who else? We started looking around and we had two and they're both very different. We wanted something that was maybe a bit more combat-driven and one that was more audible.

The combat one was like… look at 13 Assassins. That was our number one reference point, or at least one of the top reference points for Ghost in general. Ghost of Tsushima? 13 Assassins. Ghost of Yōtei? There's some 13 Assassins stuff in that, too. Improvisational sort of fighting, grabbing weapons. That style of combat is a massive reference point. We reached out to Miike. He was super stoked. We had a really great conversation. He's such a cool, creative individual. He’s even got a sword kit in the game players can find. It has a special name. He named it, and so it's very, very exciting.

Watanabe is the same thing. His show Lazarus had just come out, or I had just recently watched it. He had heard about our game, so it was a really nice touchstone and it felt like there was a nice overlap of what we were trying to show off, and I was so excited about it.

It's really cool. It's really fun as fans of the genre in general, to be able to take the thing that we've created and inject some fanfare collaborations for all the people that do care about that kind of stuff. Some people won't turn these modes on and won't even know they exist, but the people that will hopefully love them as much as we have been inspired by them.

Not sure if it is the right term in-game, but can you befriend more than wolves? In the State of Play while showing off the photo mode, we Atsu standing with a bear.

Nate Fox: The wolf shadows you throughout your adventure. It's a wild animal. It's definitely not a dog that comes when called. It is an ally that is a representation of the wilderness. Now, Atsu is kind of attuned to the natural world and so there are a great variety of different animals in Ezo that she can kind of get close to and interact with, like a big herd of wild horses you can ride inside of and kind of speed up as you're amongst them all. It's a great thing for the player to discover as they're out exploring Ezo itself. But as far as allies go, the wolf is your prime animal ally.

The Internet is speculating that the wolf is Jin Sakai reincarnated. Do you have any comment on that?

Jason Connell: I love our fans [laughs]. They’re so creative. I love it.

How do the camps work specifically? Can you request certain vendors come right to you?

Effectively. I'll say this – it is another way where we're trying to create a feature that tonally fits within the landscape. Big. Wild. North, under the wilderness. Great camping. That's great. Taking something that tonally fits into the game and seeing if we can wrap up the mechanics around it and respecting the player's time and where they are. Right? Fast traveling is fine and fun and it's super quick, as we pointed out. But if I'm exploring in an area and I go, “I know I have enough to get the bow upgrade,” because we tell you all that information like we did in the last game too, “but I have to like leave this place, go over here to this town, and now it's in the snow, and then I'm going to come back over here” – it's really sort of discordant. It really kind of breaks your immersion of exploring this cool place that I'm in right here, right now.

Or you can just go to that wolf pack menu and call the camp here and that character will come and appear at your camp. And they will show up and be like, “Hey, here's your bow upgrade.” That is a way for people to stay in that moment and get their upgrade, maybe cook some food and get a nice boon, and then they're on their way without having to – even though our fast travel is quick – it's about staying in that location.

They can still fast travel if they like that, too. It's quite nice in that way. If you don't call somebody, somebody might just appear that you had not known. There's sort of unknowns or people and surprise visitors that might show up, as well.

Infamous Second Son (2014)

Would you be opening to revisiting Infamous maybe for a trilogy rerelease or something like that?

Nate Fox: I would love to work on more Infamous. I would love to see a trilogy rerelease, but Sucker Punch is a one game at a time shop, and right now we are very focused on finishing Ghost of Yōtei.

Assassin's Creed Shadows (2025)

What did you think of Assassin's Creed Shadows? Comparisons are going to be inevitable.

Jason Connell: As creators, you get to look at this stuff in two ways. You either see anything that comes near you and you kind of freeze up, or you just get excited at the fact that the medium that you're working in is being expanded upon, and people are liking that flavor enough to where they're going to invest time to make a new game.

Nate and I solely sit on that latter one. We were very, very excited about anything, film overlap, game stuff – these things are just inevitable as creators and you learn to embrace it. And Ubisoft makes awesome games. I've been making games for a really long time. I think it's just fun to see so many other cool games in this space. It's exciting for us.

Ghost of Yōtei releases on October 2 exclusively on PlayStation 5. To learn everything shared from the recent Ghost Of Yōtei State of Play, head here.

Update: Gunzilla Games has announced that Off The Grid is available now on Steam. Prior to today, we only knew the game was arriving on the biggest PC storefront soon, but the free-to-play battle royale title surprise-launched earlier today. That now brings the title's platform list to PlayStation 5, Xbox Series X/S, and PC via both Steam and the Epic Games Store, as well as Nvidia GeForce Now.

Original Story - May 21, 2025 at 8 a.m. Central:

Gunzilla Games has announced that Off The Grid, its cyberpunk battle royale featuring a narrative by District 9 director Neill Blomkamp, is coming to Steam in June. It launched into Early Access on PlayStation 5, Xbox Series X/S, and PC via the Epic Games Store last October, and now, it’s coming to Steam via Early Access as well.

Disclaimer: Gunzilla Games is the parent company of Game Informer Inc.. All editorial coverage is selected and completed by our content team, without influence from owners or other outside parties.

As part of the Steam launch, Off The Grid will support full crossplay across PlayStation, Xbox, and PC, allowing players to link up regardless of where they’re playing the game. Gunzilla says it has been actively evolving the game in line with community feedback with “improved performance, refined balancing, and introduced new cybernetic limbs, weapons, locations, and game modes.”

“Bringing Off The Grid to Steam is a major milestone for us, not just because of the platform’s reach, but because it allows us to welcome an entirely new wave of players into a game that’s been built hand-in-hand with the community,” CEO and co-founder of Gunzilla Games Vlad Korolov said in a press release. “From new limbs and weapons to map expansions and performance upgrades, every major step forward has been shaped by player feedback. This launch is a celebration of that collaboration, and it’s only the beginning.”

You can wishlist Off The Grid on Steam starting today. It launches there next month, though Gunzilla did not announce the exact date.  

Are you going to check out Off The Grid on Steam next month? Let us know in the comments below!

Warner Bros. and New Line Cinema have released the first official trailer for their upcoming sequel, Mortal Kombat II. The film retains many cast members from the first film, while adding numerous iconic characters absent from the original to this follow-up entry.

The trailer starts with Raiden and Sonya recruiting washed-up action star Johnny Cage, played by The Boys star Karl Urban. After learning about the Mortal Kombat tournament and its fight-to-the-death nature, Cage seems less than thrilled about the prospects of competing. However, we soon see him training with Kitana, played by Chilling Adventures of Sabrina and Riverdale actress Adeline Rudolph, and facing off against the likes of Baraka, played by Furiosa: A Mad Max Saga actor CJ Bloomfield. We also see Kitana fighting Jade, who is portrayed by Tati Gabrielle, best known for her roles in You, Uncharted, and The Last of Us. 

We also get a blink-and-you'll-miss-it look at Lewis Tan's Cole Young, who served as the main character of the first film, plus more of Hiroyuki Sanada's Scorpion, including a fight against Noob Saibot, portrayed by Joe Taslim, who fittingly played Sub-Zero in the first movie. The entire trailer exists in the shadow of intimidating looks at Shao Kahn, played by bodybuilder-turned-actor Martyn Ford.

The first film in this continuity arrived in 2021. Though some didn't like the lack of a tournament structure and the story's handling of characters like Goro and Scorpion, it was still a fun homage to the games. Mortal Kombat II hits theaters on October 24.

The Skate video game series has been a cornerstone in the skateboarding community ever since its debut in 2007. It's been over 15 years since a new Skate game has been released, but despite that, the chokehold the franchise has on the culture is still as strong as ever, and EA is looking to recreate that magic with Skate, the next mainline entry in the series. 

Why has a new Skate taken so long to come out? Full Circle head of technology John Lawlor explained that the primary reason was because of how high the team’s ambitions were for the game. 

"We had to spread it across [various] platforms, we wanted to stretch it to 150 players in a given server, we also wanted to bring back and evolve Skate's core gameplay," Lawlor says. "We built the studio with [only a handful] of people when Skate was originally announced. Then COVID happened in the middle of production."

Despite the game's long wait, the latest iteration of Skate feels like the original trilogy, and I mean that in the best way possible. Even though it's been almost 10 years since the last time I played Skate, I was able to pick it up and quickly recall the core mechanics because of how similar they play. Using the iconic Flick-It system worked exactly as I remembered, and the team explains that's by design.

"We went back and got the original code [for the Flick-It system]," Lawlor said. "That was the original toy, and we ported it forward and brought it to Frostbite. That's what the team began with, and that's how it feels like Skate. Because it is Skate."

I was surprised by the amount of freedom I was given in the demo. The game actively encourages you to explore and create unique parks. You can do this by either exploring San Vansterdam (the city in which this new Skate takes place) or simply by building it yourself.

 

The latter option proved extremely useful. I completed challenges by putting up rail bars or ramps in various locations to help me complete different tasks. After I completed a challenge, whatever I placed would stay there for other players to enjoy, and it became a common occurrence for me or another player to build a random park in the middle of a plaza – a true Strand game.

When I wasn't building parks, I climbed skyscrapers with a parkour system that reminded me of Assassin's Creed. Once I got to the top, there would often be a hidden skatepark waiting to be used.

Creative director Deran Chung explains that the team added climbing and swinging mechanics because they knew players would eventually get to these hard-to-reach places, so they wanted to make it easier.

Even though the Skate franchise leans more towards realism, it's not afraid to get weird. For instance, before I sat down to play, I saw a trick where the user launched themselves off a ramp and immediately laid flat on their skateboard. I couldn't perform the trick myself, but the fact that I could do something as cool and silly as that was beautiful. The silliness didn't end there. Skaters can roll around like a ball when off the board. It is a shockingly effective way to get around.

With the Tony Hawk games gaining popularity again, there might be a concern about that series as a worrisome competition, but Chung proudly said, "Absolutely not."  Chung believes that more skating games out there is an overall good thing, and each offers its "own flavor, and every flavor has its own validity."

The last time I rode a skateboard in real life, it ended with me getting laughed at by a group of strangers because of how badly I fell. Despite that uncomfortable history, my time with Skate has inspired me to dust off my old board and give the hobby another go. The Skate team has put in a lot of work to ensure this installment feels as true to the franchise as all the others. And even if you're a newcomer to the series, this Skate seems like it will be a great jumping point for getting your feet wet.

Even though developer CD Projekt Red promised that last year's Update 2.2 would be its last big update for the game, it seems the team just can't escape Night City. That's because Update 2.3 is on the way, arriving tomorrow, and features new quests, vehicles, Photo Mode additions, PC tech improvements, VRR on consoles, and more. 

Update 2.3 is the last big update, says CD Projekt Red (we believe them this time, considering Cyberpunk 2 has moved into pre-production as of May), and hits PlayStation 5, Xbox Series X/S, and PC tomorrow. Switch 2 players running through Night City via Cyberpunk 2077: Ultimate Edition will have to wait for a "later date" to receive the Update 2.3 additions, however. 

"This patch introduces 4 new vehicles, the AutoDrive feature, self-driving Delamain cabs, and more," the patch notes read. "It also contains update for CrystalCoat and Photo Mode, as well as support for AMD FSR 3.1 Frame Generation, Intel XeSS 2.0, and HDR10+ gaming on PC, among others."

Update 2.3 also brings Cyberpunk 2077 to Mac computers running on Apple Silicon. You can purchase the game via the Mac App Store and the other usual PC storefronts. If you already own it on GOG, Steam, or the Epic Games Store, you're set to play the game on Mac 

Here's the full Cyberpunk 2077 Update 2.3 Patch Notes: 

Vehicles

Added 4 new vehicles, including several Side Jobs tied to acquiring them:

• Yaiba ARV-Q340 Semimaru
  • Reward from a new side job (to unlock, complete The Hunt and The Beast In Me).
  • An additional side job unlocks the CrystalCoat™ feature for it.
• Rayfield Caliburn "Mordred"
  • Reward from a new side job (to unlock, complete The Beast in Me: Badlands, The Beast in Me: Santo Domingo, Transmission, and Search and Destroy).
• Yaiba ASM-R250 Muramasa
  • Reward from a new side job (to unlock, purchase 1 Yaiba vehicle, purchase at least 3 vehicles through AUTOFIXER, and complete Reported Crime: You Play with Fire...).
  • If you fail the side job, the vehicle can later be purchased through AUTOFIXER.
• Chevillon Legatus 450 Aquila
  • Available for purchase on AUTOFIXER.
• Introducing AutoDrive! This cutting-edge, autonomous driving feature will take you to your chosen destination (i.e. job objective or placed pin on the map). If you have no set destination, it will take you on a leisurely ride through the streets of Night City. Simply hop in any of your vehicles, make sure you're on a road, and hold H (PC) / Left Stick (consoles) to activate. This feature is disabled when you enter combat or when your vehicle is heavily damaged.
• Implemented Cinematic Camera for AutoDrive. Hold Q (PC) / D-Pad Right (consoles) to activate. Sit back and enjoy cinematic views of Night City as you cruise toward your destination.
• Self-driving Delamain cabs are now available on demand! Simply open the menu to call vehicles, then select "Delamain Cab" from the list to request a ride. This feature unlocks after completing the job Don't Lose Your Mind (regardless of outcome) and receiving a message from Delamain.
• Rayfield's CrystalCoat™ is now available for vehicles from partner brands, including motorcycles. Additionally, the infamous hacker known as Cosmetic_Troll exploited a vulnerability and created a cracked version of Rayfield's CrystalCoat™ technology for lower-end vehicles. Please note, however, that some models do not support the technology, such as heavily modded nomad vehicles and job-related vehicles.
• Fixed an issue where unique color schemes did not work properly on the Mizutani Shion MZ1 and MZ2.
• Fixed an issue where unique color scheme could not be applied properly to the Villefort Deleon "Vindicator".

Photo Mode

• Added 27 new NPCs that can be spawned in Photo Mode, including Rita Wheeler, the Cassel twins, fixers, Dum Dum, the iguana, Brendan, and more.
• You can now switch between alternative outfits for NPCs spawned in Photo Mode.
• You can now switch between V's saved Wardrobe outfits in Photo Mode.
• Added a confirmation pop-up when exiting Photo Mode to prevent accidental exits after setting up the perfect shot.
• Added more customization options to the Look-At Camera feature, including an option for only the character's eyes to turn toward the camera instead of their entire body.
• Added multiple new stickers and frames, including iconic quotes and stylish overlays that let you turn your screenshots into Night City postcards – perfect for sharing memories from the City of Dreams.
• Improved Depth of Field and moved it to the Camera tab.
• Added a new Color Balance tab, allowing you to create your own custom filters.

Quality of Life & Accessibility

• The game will now detect if the player is using inverted mouse button settings and automatically adjusts in-game button prompts accordingly.
• Added an option to toggle aiming down sights in Settings → Controls.

Jobs & Open World

• Cyberpsycho Sighting: Bloody Ritual - the "Crack the ritualist's shard" objective now properly disappears from the Journal after completing the objective.
• Sex on Wheels - now properly appears in the Journal after receiving the message from Jake Estevez.
• Shot by Both Sides - fixed an issue where selecting a specific dialogue option in the conversation with Bree created a nameless, iconless item in the player's Inventory.
• Shot by Both Sides - fixed an issue where the button to go to the lower level didn't appear on the elevator panel.

Gameplay

• Fixed an issue where, when using a controller in Trauma Drama, the controllable character would default to shooting upwards instead of forward.
• Players can now drop more Cyberware Capacity Shards if some within the intended drop limit were previously missed.
• Fixed an issue causing automatic weapons to fire slower than intended.
• Fixed an issue where the Official BARGHEST Tac Vest didn't drop from the scripted Airdrop as intended.
• The level 60 Engineer perk no longer activates the EMP blast outside of combat or after entering a vehicle.
• Added an option to replay the gameplay tutorial at any time via Settings → Controls.

Miscellaneous

• Added an option to tell Johnny to go away after you look at him for a short while when he appears in the passenger seat. He takes the hint and disappears as a passenger for a couple days.
• Fixed an issue where the sound of V's Radioport could be randomly interrupted by the Radioports of nearby NPCs.
• Fixed an issue where History by Gazelle Twin and Trash Generation played too loudly compared to other songs on the radio.
• Improved the HDR Setting screen: fixed the HDR calibration preview so it correctly reflects the chosen settings, and clarified the description of the "Tone-Mapping Midpoint" setting.
• Updated the End User Licence Agreement. You will be asked to accept it again when you load the game after updating.
• Fixed several visual issues with missing, clipping, or floating textures.
• Fixed several localization issues in various languages.

PC-specific

• Added support for AMD FidelityFX Super Resolution 4 for compatible AMD GPUs. IMPORTANT: The FSR 4 option will not be available in the in-game settings until the supporting AMD driver is installed. Please note that the driver will be released at a later date.
• Added support for AMD FidelityFX Super Resolution Frame Generation 3.1 for compatible hardware. It can now be used in combination with any upscaler.
• Added support for ​Intel XeSS 2.0, with XeSS Frame Generation available on compatible hardware.
• Added support for HDR10+ GAMING certified Intel GPUs. To enable this feature, your display must support the technology (Find My Display) and have "Game Mode" enabled. The HDR10+ GAMING toggle can be found in Settings in the Video tab.
• Fixed an issue where the DLSS Super Resolution Preset would invisibly revert from the CNN model to the Transformer model after restarting the game, even though the UI still displayed the CNN model as active.
• Added more detailed information to the DLSS Super Resolution Preset tooltip in Settings to help players choose the best option for their setup.
• Added the ability to move the mouse cursor to a different display while in Windowed Borderless mode.
• Increased the maximum save size from 12 MB to 15 MB.
• It will now be possible to rebind the key used to jump out of vehicles with the Stuntjock perk.

Console-specific

• Added VRR (Variable Refresh Rate) support for PlayStation 5 and Xbox Series X|S.
• Fixed an issue where foliage was not properly affected by weather conditions on PlayStation 5.

Update 2.3 for Cyberpunk 2077 hits PS5, Xbox Series X/S, and PC tomorrow. 

In the meantime, read about how Cyberpunk: Edgerunners 2 is a standalone sequel series coming to Netflix, and then read Game Informer's Cyberpunk 2077: Phantom Liberty review. After that, read Game Informer's Cyberpunk 2077 review, and then read about how CD Projekt Red is working on a new Cyberpunk game, multiple Witcher games, and a new IP. 

Are you hopping back into Night City for this update? Let us know in the comments below!