• Hitman World of Assassination senior level designer Martin Ansdal shares the process of getting YouTuber Jacksepticeye on board for his Elusive Target mission
• Ansdal says Jacksepticeye "immediately gave us carte blanche to make him as evil as we wanted"
• He adds that "I’d like to think we matched his energy and went all in"

Hitman World of Assassination's latest Elusive Target mission stars YouTuber Jacksepticeye, and he allowed IO Interactive to make his character, Finn Colton, "as evil as we wanted."

That's according to senior level designer Martin Ansdal, who discussed the behind-the-scenes creation of the Elusive Target missions in an interview with TechRadar Gaming. The developer said Seán William McLoughlin, aka Jacksepticeye, "seemed genuinely excited" about starring in 'The Host,' since it's a franchise he grew up with, and permitted the team to go as wild as possible with his character.

Jacksepticeye "immediately gave us carte blanche to make him as evil as we wanted and complete freedom in designing the signature eliminations," Ansdal said. "Some celebrities are understandably a little concerned when they see themselves in the context of the game, but Seán was asking us specifically to push it further. I’d like to think we matched his energy and went all in."

For this Elusive Target mission, Ansdal revealed that the team flew to the Brighton office to meet with Séan "very early in development," which also meant "he had a lot more input on the mission design."

"He added a lot of small touches, including the beeping sound the content creator cameras make when they’re remotely activated," the developer said. "There is a very dark scene in the mission where Finn Colton 'looksmaxxes' while watching his old audition tapes. For this we had to get Seán to voice act as a child, which was a lot funnier behind the scenes than the horror of the in-game moment suggests."

For these specific missions, the senior level designer explained that this is a collaboration between him and the writer, as each Hitman mission has a branching narrative and several creative elimination opportunities, as well as "a vast ambient script to make sure the mission supports player freedom and replay."

"Usually we only do one recording session with the celebrity, so we optimize their script heavily and let the supporting cast fill out any gaps," he said.

Ansdal continued, saying he was "incredibly impressed with Seán’s performance given that he is not a traditional actor," and he is "incredibly affable and charming," as he is used to "projecting that through the screen in his videos, which is a kind of performance in itself."

"We tried to empathize that quality in his script cause we felt that would give the best result," he added.

• Secretlab announces the ErgoArch Monitor Light Bar Add-On, launching today
• The desk light is designed to pair with the Secretlab Magnus Monitor Arm
• The light bar offers a three-point adjustment arm that unlocks a wider and more precise range of adjustments for "unmatched versatility"

Secretlab has announced the ErgoArch Monitor Light Bar Add-On, a new ergonomic, elevated overhead desk light "designed for unmatched versatility."

"Good desk lighting helps reduce monitor glare and eye strain over long hours," Secretlab said. "But the amount of light you need and its positioning changes with what you’re doing. Yet, conventional monitor light bars offer limited control over both. They also sit on top of your monitor, restricting their range of adjustments."

Designed to attach magnetically to the Secretlab Magnus Monitor Arm, the new Secretlab ErgoArch Monitor Light Bar solves this issue by offering a flexible three-point adjustment arm, unlocking a wider and more precise range of adjustments for "unmatched versatility."

Compatible with any VESA-mounted screen, the desk light also features a full spectrum of brightness and temperature options and "delivers the right light setting for every position, activity, and mood."

The light bar's elevated position and asymmetrical optical design deliver light across your entire workspace by directing it downward and away from the screen, which minimizes reflections and glare while balancing brightness contrast between your display and workspace for more comfortable viewing.

Alongside Magnus Monitor Arm compatibility, the light bar includes a magnetic webcam mount attachment that keeps your display unobstructed, as well as immersive RGB ambient lighting powered by Nanoleaf, with access to 16.8 million color combinations. Lighting can be fine-tuned via a dedicated wireless controller and the Nanoleaf Smart App for quick access or the Nanoleaf Smart App.

The Secretlab ErgoArch Monitor Light Bar Add-On launches today, November 10, and is available at Secretlab.

• Original Mass Effect composer Jack Wall shares how orchestral and synth music influenced the first two games
• Wall says 70s and 80s music were a big inspiration and explains how Mass Effect was "less orchestra" and "more synthetic," while Mass Effect 2 had more orchestra
• He reveals that BioWare made 'Vigil' the main music track right before shipping the game

Original Mass Effect composer Jack Wall has revealed how orchestral and synth music influenced the series and how the iconic 'Vigil' track changed the game for the better.

In an interview with TechRadar Gaming, Wall discussed the inspirations for Mass Effect and Mass Effect 2's core sound and themes, explaining that game director Casey Hudson "wanted to play with 80s synth mixed with quasi-orchestra" music, which was the basis for the series' memorable vibe.

"He [Hudson] imagined a synthesizer and amp on stage with the orchestra. That was the idea, " Wall said, adding that Tangerine Dream, Vangelis, and other pieces from the 70s and 80s also influenced the soundtrack of the original Mass Effect.

"It was super cool and unique, as that idea hadn’t really been done before to my knowledge," he said. "At least not on this scale."

Wall explained Mass Effect was "less orchestra" and "more synthetic," while Mass Effect 2 added more orchestra, because "the design of the game changed."

He refers to the team compositions, explaining that each member of Shepard's team in Mass Effect 2 had their own missions and levels where they had to gather important assets for the final battle.

"We wanted to make sure that each level had its own sound," Wall said. "It was a good way for me to assign levels to my own composing team and be sort of the creative director of the score, write all of the main themes, and share with the team to sprinkle throughout to bring it all together. ME1 had more of the traditional leitmotif scoring, where places and/or people had their own themes."

The composition process, he said, was done by "writing to a picture," meaning gameplay, and formulating ideas from there. Mass Effect was the first game where Wall was able to see video capture to write to, and it "ensured that my vision for the score was closer to the actual game."

"When I hit something I like, I focus on that and just hone it until I feel that it’s ready to present to the client," he said. "My instincts are pretty good and I generally only get minor notes once we have an overall direction we can agree on, and we’re all rowing in the same direction. I had worked on Jade Empire with BioWare before ME1, and with that game all I had was artwork."

The composer went on to discuss Mass Effect's 'Vigil', which was a "particularly important track" that he wrote for the archives of the Protheans on the planet Ilos and that the team decided last minute to use for the menu music instead of the classic 'Mass Effect Theme' fans now know and love. Wall recalled booting up the game for the first time and hearing the music, saying it was worth it.

"It is in fact used there as you descend into the vaults where the Prothean crypt, giving a sense of wonder at what happened to the seemingly extinct race," he said. "But at the last moment before ship, instead of using the Mass Effect Theme on the load screen, the dev team swapped in Vigil and made the game so much more compelling with that one simple choice!

He added, "When I got the game and popped it into my Xbox, I was blown away to hear that track as the menu screen came up. The game instantly had a vibe."

• Original Mass Effect composer Jack Wall explains why the cinematic music was one of his "favourite" parts to write
• He says cinematic moments help "propel the story forward"
• Wall adds that cinematic music is "our opportunity to give the player goosebumps"

Jack Wall, the composer for Mass Effect and Mass Effect 2, has explained how the game's cinematic music acted as an integral part of each narrative.

In an interview with TechRadar Gaming, where the composer discussed BioWare's closure and how orchestral and synth music influenced the series, Wall said, "One of my favorite parts of being a composer for any game is the cinematic moments that propel the story forward."

He explained that cinematic moments accompanied by tracks are vital to the story, and "This is our opportunity to give the player goosebumps."

Wall explained that he wrote the music to be specifically connected to "both to places/environments and characters — always driving the story forward."

"The music won’t change in those moments depending on the gameplay as they are baked into the visuals," Wall added. "They are wonderful pauses for the player to just take it all in. Especially for a game like Mass Effect where those cinematics are generally rewards for getting to the next phase of gameplay."

Interestingly, Wall revealed that after he was hired for Mass Effect, BioWare divulged the entire story to him "along with the full arch of time, the Reapers, etc," providing him with a creative direction for the soundtrack.

"It was one of the most exciting sci-fi stories I’d ever heard," he said.

In the same interview, Wall also shared his favorite memories from working at BioWare and revealed that he considers Mass Effect 2's infamous final quest, Suicide Mission, to be "one of the 10 best endings for a video game ever."

• Rockstar Games announces Grand Theft Auto 6: The Festival for November 21
• The special live concert will feature music from artists in the game and on the official soundtrack
• A pre-sale lottery for tickets will be available on November 11

Rockstar Games has announced Grand Theft Auto 6: The Festival, a special live concert scheduled for after GTA 6's launch and featuring music from the game.

The Festival is set for November 21 at Mana Wynwood in Miami and will feature a star-studded lineup of artists from the game and the official soundtrack across two stages.

Those performances include: Cactus Jack presents Travis Scott, Don Toliver, Kodak Black, and Sofaygo; Cardi B; Ca7riel & Paco Amoroso; Justice (DJ set); Metro Boomin; Nick León B2B DJ Python; Prospa B2B Skream; Rauw & Friends; Suero; Tainy; The Dare B2B Fcukers (DJ set).

Rockstar has confirmed that a pre-sale lottery will be available for a chance to purchase tickets, beginning on Wednesday, November 11.

Tickets are limited to two per pre-sale lottery code, and the lottery closes at 4PM ET / 9PM GMT on Tuesday, November 10.

Fans can sign up for the GTA 6: The Festival lottery here, with entries limited to a maximum of one entry per person. Entries must also be from people aged 17+.

"Winners will be drawn at random from eligible entries and contacted by SMS with a code on Tuesday, November 10 by 7 P.M. ET," Rockstar said. "Odds of being selected will depend on the number of eligible entries received."

GTA 6 finally launches in just 10 days on November 19. Digital pre-loading will begin on November 10.

• Original Mass Effect composer Jack Wall hopes BioWare can be saved one day
• Wall says, "It’s sort of bananas to think of BioWare as just…gone"
• He adds, "I hope that someone else can come in and take it from here"

Original Mass Effect composer Jack Wall has reacted to EA shutting down BioWare and hopes the legendary studio can be saved one day.

In an interview with TechRadar Gaming following the devastating news and cancelation of the next Mass Effect game, Mass Effect Universe, Wall said, "Frankly, it’s sort of bananas to think of BioWare as just…gone."

Wall worked on Mass Effect and Mass Effect 2 and agreed that the series is important enough to warrant saving, saying, "Mass Effect is such a wonderfully original universe. It feels like it should live on not only in games but TV and Film as well. The stories are so compelling."

The composer added, "Not sure where the Prime TV series sits at this time, but it would be really cool to see a show of this universe."

Following its closure, the studio released a statement saying that the "generations of BioWare built together is something to celebrate and remember." The shutdown came as part of EA's first major restructuring plan that led to 400 layoffs across the publisher's studios, including around 50 for the people remaining at BioWare.

Many creatives across the industry are urging someone, like another publisher, to save the developer before it's too late. Fans have also created a petition called "#SaveMassEffect" and wish to see BioWare's vision for the Mass Effect series continue.

Wall shared a similar sentiment about the studio, saying, "In short, I’m sad to see BioWare go. I hope that someone else can come in and take it from here."

• Warhammer 40,000: Dawn of War 4 creative director Jan Theysen explains why the game revisits Kronus
• Theysen says King Art Games wanted to reintroduce Crusade Mode, which opened an opportunity to revisit the planet
• Crusade Mode was first introduced in the first Dawn of War game

King Art Games has explained why Warhammer 40,000: Dawn of War 4 will revisit Kronus and how the return of Crusade Mode played a part in the decision.

"It's basically the idea that coming back or going back to a place that you visited before is fun," creative director Jan Theysen shared with TechRadar Gaming when asked what the team's driving force was for Dawn of War 4 to revisit the planet.

"We also knew that we wanted to reintroduce the Crusade Mode, or the crusade-like planetary conquer-the-planet type of mode," he added.

Crusade Mode is a fan-favorite mode that had its origins in the first game's Dark Crusade expansion nearly 20 years ago, and King Art Games describes it as Dawn of War 4's "endless mode."

Players can replay the mode's extended campaigns over and over, featuring numerous territories spread across Kronus, and they’ll always play out differently each time, while also introducing extra gameplay variety to the base game.

"Somebody said, well, if we bring back the mode, wouldn't it be fun that it's on the same planet, right?" Theysen continued. "And you can revisit the territories and the stuff you remember from the first game, and we said, okay, why not? Great idea; it's on the right side of The Great Rift."

Warhammer 40,000: Dawn of War 4 launches on PC on December 3, and Theysen has also suggested that the game could eventually come to console.

The creative director also told TechRadar Gaming how it ended up with four separate faction campaigns and that it considered adding other playable factions before deciding on Adeptus Mechanicus.

• Warhammer 40,000: Dawn of War 4 creative director Jan Theysen explains how King Art Games balanced the four playable factions
• Theysen says the team starts by identifying the "feeling" of each faction, especially for newcomers
• He says King Art does a lot of testing with AI bots, but things can still change when players get their hands on the game

Warhammer 40,000: Dawn of War 4 creative director Jan Theysen has explained how King Art Games balanced the four playable factions in the real-time strategy (RTS) game without compromising their fundamental traits and abilities.

Speaking in an interview with TechRadar Gaming, Theysen said it's a "super challenging" process balancing Space Marines, Orks, Necrons, and Adeptus Mechanicus, because it's "10s of 1000s of permutations of different units who can fight each other" with different equipment and abilities, and so the studio first focused on trying to identify the "feeling" of each faction.

"What we do is we try first to get the feeling for each of the factions; how is this faction supposed to feel? And then we try to do it in a way where players who do not know the faction still intuitively play them the right way," Theysen explained.

"For example, if you have Space Marine units and the Space Marine units are super, super expensive, and you can upgrade them with a lot of different stuff, you feel different about them than, let's say, Ork units that are dirt cheap, and you have a lot of them from the get go. But they also die pretty quickly, right?"

The creative director continued, saying "naturally and organically" players who play Orks, for example, will care a little less about individual units and will use them against bigger mobs, while Space Marine players will "organically" care more about individual units and try to keep them alive longer.

After this first phase is achieved, Theysen said anyone who plays the campaign will understand what's going on lore-wise, and then King Art needs to figure out the fundamental ideas of early-, mid-, and late-game units. Then comes the long testing phase.

"We need units that can do certain things, and all of that stuff is baked in," he said. "But as soon as we have that, then we start to let them play against each other, fight each other. We do this ourselves, of course, but we also have just [have] in-game AI play each other and give us statistics: who wins which combination on which map and so on.

"And then we start adjusting the dials a little bit and say, okay, the overall win rate for Necrons is too strong. Can we make them weaker, for example, without losing this core identity or this core feeling that we have?"

Theysen explained that "this is also an ongoing process, to be honest" because "you can do this as much as you want" but "as soon as real players get this into their hands, they come up with stuff you never thought about."

"If [players] do it like this, then actually there is an unfair advantage," he said. "So we have to somehow fix that."

Warhammer 40,000: Dawn of War 4 launches on PC on December 3, and Theysen has also suggested that the game could eventually come to console while discussing which hero mechanics and UI features it borrowed from Dawn of War 2 and 3.

• Several industry analysts say Sony and Microsoft may need to scale back their "relentless push for higher-end performance" to avoid $1000 consoles
• Piers Harding-Rolls at Ampere Analysis says ambitions will need to be "moderated" to avoid breaching the hefty price point
• Rhys Elliott at Alinea Analytics anticipates that the PS5 will stick around well after the PS6 launches due to rising costs

Several industry analysts have suggested console manufacturers will need to temper their ambitions for next-generation hardware to avoid breaching the $1000 console launch mark.

Unlike last-generation, current-gen console prices only seem to be getting more expensive years after launch. Whether it's the ongoing DRAM crisis or the AI boom that's made components even more costly, the games industry is at a point where the future of affordable hardware is looking pretty grim.

There have been conversations over the past few years about what this could mean for next-gen consoles — namely the PS6 and Xbox's Project Helix — and whether manufacturers could ever reach a point where their hardware could breach $1000.

In an interview with TechRadar Gaming about rising costs, Piers Harding-Rolls at Ampere Analysis suggested Sony, Microsoft, and Nintendo may have to scale back their ambitions for realistic graphics and higher performance if they ever want to avoid that huge price point.

"The relentless push for higher-end performance will need to be moderated," Harding-Rolls said.

Omdia's James McWhirter also suggested hardware stratification across tiers may be in the cards, including a cheaper Nintendo Switch 2 with more bundles that offer more value, and manufacturers may delay new hardware launches for the foreseeable future in a bid to wait out the rising cost of components.

However, this could also mean longer console generations. Rhys Elliott at Alinea Analytics anticipates the PS5 will stick around well after the PS6 launches, and cross-generation games may allow players the opportunity to delay their hardware upgrades.

"The next generation won’t replace this one so much as sit on top of it," Elliott claimed.

• IO Interactive shares how it creates accurate Hitman World of Assassination Elusive Targets
• Senior level designer Marin Ansdal says there is no scanning involved and everything is "bespoke craftsmanship"
• Junior concept and character artist Lovisa Österman says it takes "hours" of studying before beginning the design process

IO Interactive has revealed that it hand-crafts all of its Hitman World of Assassination Elusive Targets rather than relying on traditional scanning.

With the release of World of Assassination's new Elusive Target mission, The Host, starring YouTuber JackSepticEye, TechRadar Gaming chatted with IOI about the ins and outs of designing these special updates, including how it constructs the most creative eliminations.

When asked how the studio achieves the likeness of celebrities and public figures, senior level designer Marin Ansdal said every character is created from scratch, and no motion-capture or scanning is involved in the process.

"Like many things in Hitman, it’s down to bespoke craftsmanship – we do not rely on scans at all," Ansdal said. "Instead, the character receives a hand-drawn concept and is modelled and textured by a character artist."

He added, "Oftentimes a great likeness is knowing when to supplement realism with caricature. This is a balance a real character artist can strike in a way that a scan just can’t."

Junior concept and character artist Lovisa Österman also explained how she begins the design process, revealing that it takes "hours" simply looking at references to ensure accuracy before the stages of creating the Elusive Target models.

"I spend hours pouring over videos and photos of the talent to really understand what their face looks like from every angle. And a heavy lifter is getting the textures right," Österman said.

"You can have the 3d mesh completely right and still not feel like it looks like the person. Because you really need the textures, the person's freckles and spots and flaws to really recognize them."

The studio also offered insight into its process for selecting the game's targets, confirming that the level designer and writer take over once a celebrity or public figure is on board.

• Warhammer 40,000: Dawn of War 4 creative director Jan Theysen says King Art considered adding other playable factions besides Adeptus Mechanicus
• Theysen says the team played around with the idea of adding Death Guard, but it was too similar to other factions
• He says Adeptus Mechanicus is "lore-wise" the "most important faction that never was part of a Dawn of War"

Warhammer 40,000: Dawn of War 4 creative director Jan Theysen has revealed that King Art considered adding other playable factions that didn't make the cut, but felt Adeptus Mechanicus was the best fit for the fourth option.

Dawn of War 4 will feature four separate faction campaigns for the Space Marines, Orks, Necrons, and Adeptus Mechanicus, which the creative confirmed was "the first thing we decided" because Dawn of War, and Warhammer in general, "is fundamentally about the factions" and "how weird and crazy and cool they are."

But why Adeptus Mechanicus, a faction that has never been playable before? According to Theysen, who discussed the upcoming game at length in an interview with TechRadar Gaming, the studio wanted to do "a modern version, if you like" of the first Dawn of War game and knew Orks should be included since they "are just very Dawn of War," along with the character Gorgutz.

Then it wanted Necrons to be playable as well, because the team thought it would be "interesting because they were kind of promised for Dawn of War 3 and never came." He added, "We felt like it's a nice gesture to eventually bring them in."

After adding the Space Marines as the third playable faction, one spot remained, but before choosing Adeptus Mechanicus, aka AdMech, it considered other factions first.

"We said, okay, is there anything that never was part of a Dawn of War game officially that we could bring to the game and introduce for everybody, and there are a handful of factions, but not that many," Theysen said. "We looked into Death Guard or even Leagues of Votann. But in the end AdMech is by far the like biggest and, lore-wise, most important faction that never was part of a Dawn of War."

Theysen called AdMech the most "interesting in terms of gameplay" and "how we thought the faction should feel" compared to a faction like Death Guard, which is "a relatively slow army," and it already had Necrons and Space Marines that are "very tanky."

"It [Death Guard] feels maybe similar or maybe closer to some of the other factions we already have, while something like AdMech, which is very fast, [has] great gun line, great range, feels very different from all the other factions. And so we said, okay, this is great. Let's go with that."

Ahead of the game's December 3 release, Theysen also discussed how the game's advanced animation system, Combat Director, initially sounded like an impossible challenge.

• Call of Duty: Modern Warfare 4 composer Jason Graves says there's a big difference between how music "functions" in multiplayer mode and in the campaign
• Graves says a campaign usually has narrative beats and "dramatic moments" to follow, while "multiplayer is completely unpredictable"
• He adds that "It's less about following a story and more about supporting the player's experience"

Call of Duty: Modern Warfare 4 composer Jason Graves has explained the biggest differences between scoring a multiplayer mode and a campaign because of how the music "functions."

Speaking in an interview with TechRadar Gaming, where the composer discussed his creative process for the game's multiplayer music and what inspired him most when writing the score, Graves said writing tracks for an online gameplay experience is much different from a story mode with certain narrative beats, because you have to factor in the unknown.

"The biggest difference is how the music functions within the game," Graves said. "In a single-player campaign, you're usually following a narrative with specific characters, locations, and dramatic moments. You have a much better idea of what the player is experiencing and when."

The composer continued, saying, "Multiplayer is completely unpredictable," and suggested that it requires you to think outside of the constraints of a standard narrative score.

"You have no idea how any given match is going to unfold, so the music needs to work within a much more flexible framework," Graves added. "It's less about following a story and more about supporting the player's experience without getting in the way of the gameplay."

Elsewhere in the discussion, Graves said multiplayer mode has "a completely different vibe from the campaign" and "the music needs to make you feel like anything could happen at any point in time."

"A lot of what I was trying to capture was forward momentum and pure adrenaline," he said. "I always thought of myself as the musical equivalent of Master Sergeant Apone in Aliens, pumping up all the troops beforehand, keeping them in line and focused in combat, and rewarding them when they come back home. 'Every meal's a banquet! Every paycheck's a fortune! Every formation a parade!'"

• Call of Duty: Modern Warfare 4 composer Jason Graves shares his secret tool he used on the soundtrack
• He reveals that it's "an aluminum garbage can lid that I save for special occasions"
• Graves also used it for 2022's Call of Duty: Modern Warfare 2

Call of Duty: Modern Warfare 4 composer Jason Graves has revealed the unusual, secret tool he used for creating the game's soundtrack.

In an interview with TechRadar Gaming, Graves discussed his creative process for writing the game's multiplayer music, which he said is usually "an afterthought," and even offered some insight into the coolest technology he used for recording the tracks.

"It's definitely not considered any kind of tech, but it's definitely entertaining," Graves replied when asked what his secret weapon was.

But if you expected something along the lines of interesting studio equipment or fancy tools to capture the multiplayer's tone, you'd be dead wrong.

"I have an aluminum garbage can lid that I save for special occasions," the composer revealed, "and the last time I used it was in 2022's Modern Warfare [2]. So naturally, I had to bring it out again and play it for Modern Warfare 4."

Graves also discussed how the multiplayer music is "completely different" from the campaign, which has more story beats and dramatic moments, saying "you play a lot of multiplayer" to truly understand its tone.

"It's a completely different vibe from the campaign, and the music needs to make you feel like anything could happen at any point in time," Graves said. "A lot of what I was trying to capture was forward momentum and pure adrenaline."

"There's definitely a lot of aggressive percussion, distorted electronics, and organic textures that help give the music its identity," Graves added. "I love combining real-world sounds with electronic processing, especially when you end up with something that's difficult to identify.

"It creates a sense of energy and unpredictability that fits perfectly with multiplayer."

• Warhammer 40,000: Dawn of War 4 creative director Jan Theysen explains how King Art introduced ideas from the Warhammer 40K TTRPG
• Theysen says it took "basic ideas" from the tabletop game that were familiar to fans
• Features like Armor of Contempt were also adapted to make sense for the real-time strategy experience

King Art Games co-founder and Warhammer 40,000: Dawn of War 4 creative director Jan Theysen has explained how the studio implemented ideas from the Warhammer 40K tabletop game to make sense for long-time fans and newcomers.

In a lengthy interview with TechRadar Gaming, where Theysen described how the game manifests the classic RTS experience of the 2004 game and which hero mechanics and UI features it borrowed from Dawn of War 2 and 3, the creative director said that it was always King Art's intention to take inspiration from the beloved tabletop game.

"When it comes to basic ideas for factions, or also for units, for abilities, and so on, that's basically the first place we look," Theysen said. "Because instead of inventing completely new abilities for units, it makes sense to see what they have in the tabletop; is this something that we can adapt or change so it works in an RTS?"

Among those features was Armor of Contempt, a combat bonus for the Space Marine faction, which King Art decided to adapt to make sense in the context of the RTS.

"The tabletop is something different, but it's kind of the same idea, which basically means it makes Space Marines harder to kill, right?" the creative director explained.

"In the RTS, we now have Armor of Contempt, which basically works when Space Marines kill enemies, but also if one of them gets killed, there is more contempt [the attribute], and then basically the next damage you receive goes away from the contempt instead of the HP pool, which makes the Space Marine harder to kill, right?"

He added, "It's not the same mechanic, but it does kind of the same thing. And by naming it Armor of Contempt, someone who knows the tabletop already gets a good impression of what it probably does."

Warhammer 40,000: Dawn of War 4 launches on PC on December 3. The creative director has also suggested that the game could eventually come to console.

• Hitman World of Assassination senior level designer Marin Ansdal explains how IO Interactive designs the best Elusive Target elimination methods
• Ansdal says the elimination has to serve "the target poetic justice for their central character flaw"
• He adds that it also requires "intriguing toybox mechanics to set up the kill and a nice juicy payoff presentation"

IO Interactive has shared its recipe for constructing the most creative Elusive Target eliminations in Hitman World of Assassination.

The ongoing Hitman game just received another major update in the form of a new Elusive Target mission called The Host, which tasks Agent 47 with taking down YouTuber JackSepticEye’s in-game character, Finn Colton.

As with every new Elusive Target mission, players will be able to use their imagination to eliminate Colton with the many possibilities on offer, which is what the game is best known for, and according to senior level designer Marin Ansdal, IOI has a very specific way of designing these murder methods.

"For each mission we brainstorm a bunch of elimination ideas and choose the ones that hit the most of our success criteria," Ansdal told TechRadar Gaming following the mission's release.

Ansdal explained that the Elusive Target's characterisation and mission story factor into what makes a good elimination as much as the mechanics, despite the player being given free rein to get creative.

"A great signature elimination is a combination of serving the target poetic justice for their central character flaw, intriguing toybox mechanics to set up the kill, and a nice juicy payoff presentation," he said.

"For example, JackSepticEye’s character Finn Colton is obsessed with generating online content and has no concern for safety or ethics. So we designed a kill where you overheat and burn down his generative AI server farm with him inside. Then his employees film him on their phones as he dies."

Hitman World of Assassination's new The Host Elusive Target mission is free-to-play now until November 25.

Ansdal also shared IOI's process for selecting the game's targets, confirming that the level designer and writer take over once a celebrity or public figure is on board, and "We try to find a location which thematically suits the talent and craft a story that synergizes with the talent in tone and genre."

• Warhammer 40,000: Dawn of War 4 creative director Jan Theysen suggests a console version could be achieved on a "technical level"
• Theysen says bringing RTS games to console "is always a big challenge" because of the many key prompts on PC
• He adds that King Art would ideally make adjustments so that it "actually works well on controller"

Warhammer 40,000: Dawn of War 4 creative director Jan Theysen has suggested the upcoming real-time strategy (RTS) game could eventually come to consoles, as King Art plans for its future.

In an interview with TechRadar Gaming, where the creative director confirmed that the studio borrowed hero mechanics and UI features from Dawn of War 2 and 3 for inspiration, Theysen said that while nothing has been announced at the moment, he believes a console edition of Dawn of War 4 isn't out of the realm of possibility.

"I mean, I think we could do it on a technical level," Theysen said. "We are also looking, of course, into what else might come in the future."

The King Art co-founder explained that since RTS games generally have a wide selection of keyboard and mouse prompts, it can be difficult to cohesively translate the controls to a gamepad. However, King Art has achieved this in the past with games like Iron Harvest and Battle Worlds: Kronos.

"RTS on consoles is always a big challenge when it comes to the controls, right?" he said. "And so if we did it, I think our goal would not be to try to get the exact same controls mapped on a gamepad because that's not really working. I think we literally have something like 40 keys on the keyboard for different things."

He added that King Art would ideally look at how it could change the gameplay in places and make adjustments so that it "actually works well on controller."

Warhammer 40,000: Dawn of War 4 launches on PC on December 3. In the same discussion, Theysen also described how the game manifests the classic RTS experience of the 2004 game and how the game's advanced animation system, Combat Director, initially sounded like an impossible challenge.