傳《惡靈古堡9》將在6月夏日遊戲節公開！小島秀夫確認將出席活動
Capcom（卡普空）近幾個月關於《惡靈古堡9》（Resident Evil 9）的傳聞不少，甚至連官方都曾經在《惡靈古堡4 重製版》千萬祝賀影片中，被認為是在暗示 9 代。而現在隨著「夏日遊戲節」（Summer Game Fest）將在 6 月 7 日展開，越來越多消息湧現，像是小島秀夫確認參加，以及《惡靈古堡9》被爆出將會此活動中公開。
Capcom 遊戲知名爆料者 Dusk Golem，今年 5 月中才在 X（推特）上，以「It's almost 100% for sure」（幾乎能100%確定），表示《惡靈古堡9》會在今年公開。
而最近，Dusk Golem 又轉發了遊戲內容創作者 ScreenFireGermany 的消息「《惡靈古堡9》會在夏日遊戲節上公開，並在 2026 年第一季上市」，他表示自己相信對方，並且認為對方比他還要了解發表會的資訊，也提到對方過去所說關於《惡靈古堡9》的內容都是真實的。
當然除了爆料外，也有一些確認的消息。像是《死亡擱淺2 冥灘之上》製作人小島秀夫，就由夏日遊戲節主辦者 Geoff Keighley 宣布，將會參加今年的活動。或許將帶來其他新遊戲預告，像是許久沒有新消息的《OD》？
Just Announced: Hideo Kojima will join us live on stage for #SummerGameFest next Friday, June 6 at YouTube Theater.Watch the global livestream at 5p ET / 2p PT / 5p GMT / 6a JST at https://t.co/59xiIzexLfLimited fan tickets here: https://t.co/th8ccfuW5j pic.twitter.com/GkfxkW7g4m
— Geoff Keighley (@geoffkeighley) May 27, 2025
緊貼最新科技資訊、網購優惠，追隨 Yahoo Tech 各大社交平台！
🎉📱 Tech Facebook：https://www.facebook.com/yahootechhk
🎉📱 Tech Instagram：https://www.instagram.com/yahootechhk/
🎉📱 Tech WhatsApp 社群：https://chat.whatsapp.com/Dg3fiiyYf3yG2mgts4Mii8
🎉📱 Tech WhatsApp 頻道：https://whatsapp.com/channel/0029Va91dmR545urVCpQwq2D
🎉📱 Tech Telegram 頻道：https://t.me/yahootechhk
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Yahoo
a day ago
- Yahoo
Out of Words features one of the cutest videogame characters I've ever seen, but there's a tinge of Kafkaesque darkness to it, too
When you buy through links on our articles, Future and its syndication partners may earn a commission. After yapping about nothing but videogames for three days at Summer Game Fest, I tried my best to talk about anything else, but I just couldn't stop bringing up Out of Words. It's a sidescrolling tale of young love brought to life by a charming handicraft world and striking stop-motion animation. Being the type of person who's always experimenting with amateur arts and crafts and playing Jim Henson's Labyrinth on repeat must make me the perfect target for this, but the creations here benefit from a team of real artisans. When it launches, you'll be able to play Out of Words with a friend on the couch or connect with them online, regardless of platform. In my demo, I played with game director Johan Oettinger, while game design lead Jeff Sparks joined us for a chat. It's a strictly co-op adventure, and how its protagonists play will change throughout the journey to reflect the emotions and story connecting the kids, Karla and Kurt. An "Alice in Wonderland" moment happens almost immediately, dropping the friends into an unfamiliar and troubled world that hinders their ability to speak. It's also when you meet Aleph—the darling manta-like creature that's a manifestation of their friendship and feelings for each other. The Out of Words duo are cute as a button, but screenshot stills don't do Aleph justice. The bubbly blue baby purrs, coos, and squeaks while twirling about to lighten the mood. It makes perfect sense Aleph is born from good feelings between kind, gentle people. It's gotta be the cutest thing I've ever seen, and it's not just a me thing, either. Characters in later scenes seem drawn to its warmth in a way I suspect will have some special meaning for the big picture. When the demo skips ahead, it takes Kurt, Karla, and the painfully precious Aleph underneath the City of Nouns, aptly named Nounberg. To navigate the dangers of the catacombs, the friends toss Aleph back and forth, juggling its magic to avoid obstacles. The player holding Aleph floats along the ceiling, while the other runs along the ground like normal. Oettinger never dropped me, but I did let him go tumbling once or twice before finding our pace as a team. If you can learn to give up a little control and trust your partner, the mechanic turns into a comfortable dance. It's not difficult, but it's quite satisfying. "There's enough of a challenge to feel like you're overcoming, but we really want to keep it modest," Sparks said. "So that you can play it with your child, a non-gamer partner or parent. Someone who's a little less versed in videogames. We really want to make this as approachable as possible." Despite Kurt and Karla's predicament, the introduction to the catacombs feels surprisingly calm, almost meditative. Character puppets, blades of grass, and books—everything in the world of Vokabulantis is a real object that was made by hand and filled to the brim with tiny details. Set pieces are individually placed, while scenes are lit with actual studio lighting. The whole presentation felt like a diorama I could reach out and touch. It's no small feat, but Oettinger tells me he's been fabricating crafts like these for over twenty years as the founder of his animation studio, WiredFly. Immediately, the studio's approach makes me think of Ghibli, but not in the exclusively cute and cozy way popularly associated with the studio today. Out of Words is dark, beautiful, and comforting. I didn't see anything quite as terrifying as Princess Mononoke's headless Forest Spirit, but I did encounter strange creatures and unease more familiar in films like Spirited Away. Oettinger notes Hayao Miyazaki is among the artists who inspire him, along with Franz Kafka, Michael Ende, and David Bowie. There's a point when Kurt and Karla's own anxieties and miscommunication manifest, and the darker side of those influences emerge. Whatever happens triggers a new low in their friendship, and the two become an abomination of something called Primordial Clay. It's a divine substance that makes up much of the life in the strange world, and seems to sense how the duo feels. I was a little taken aback by how monstrous their insecurities take shape. Karla and Kurt are stuck together, the darling little Aleph sandwiched somewhere in the middle. Their movements no longer complement each other; instead, they move together as a messy, bumbling skull-like creature with two arms—one for each player to control. It destroys pieces of the city as it tears through alleyways and shops, desperate to catch a frightened clay citizen who may have more answers about how to help them find their words again. The rhythm of controlling their embodied ugliness came slower, but I found my groove with time. That's intentional, too. Sparks explained the transition demonstrates "just how dramatic the gameplay changes are between sequences." Out of Words is a coming-of-age story, but the complexities of communication are a lifelong challenge, even in old age. My first trailer impression misread the game, and I assumed the only communication happening would take place through actions, but I was wrong. There's plenty of direct language involved, and it brings the same artistry from the art style to the names of places and people thanks to poet Morten Søndergaard. My only disappointment came when the demo ended—I miss Karla, Kurt, and Aleph already. There's so much craftsmanship in the words, in the interactions, and in the placement of trinkets; it's a real showcase of specialist talent. While my demo experience wasn't very long, only some 40 or so minutes, I can't help but walk away feeling like Out of Words could be one of those games that endears me to the medium all over again.
Yahoo
2 days ago
- Yahoo
Resident Evil Requiem headlines the next Capcom Spotlight livestream
Summer Game Fest might be in the rear-view mirror, but the gaming showcases are still coming. Capcom has announced that its next Spotlight livestream will take place on June 26. Planned to last around 40 minutes, the showcase will focus on upcoming titles Pragmata and Resident Evil Requiem, which was announced during Summer Game Fest proper earlier this month. As well as news, the event will include developer interviews. Capcom is also promoting Monster Hunter Wilds and Street Fighter 6 as featured games, so expect new information on updates or fresh content for those existing titles in the showcase. We already know that the Title 2 Update for Monster Hunter Wilds is due at the end of the month, which will add new monsters and a new seasonal event. The last Capcom Spotlight took place in February, where Capcom announced the remaster of Onimusha 2: Samurai's Destiny. We wouldn't expect any new game announcements this time, but it could happen. More exciting is the possibility of new footage of Resident Evil Requiem, which was arguably the biggest announcement of SGF 2025. We know we'll be playing as a new character, named Grace Ashcroft, and that you'll be able to choose between a first and third-person perspective throughout the game. Engadget's Mat Smith got to play Pragmata at SGF, where he called it a 'satisfying sci-fi shooter' and came away impressed by the elegance of its dual-protagonist gameplay. Capcom first announced the game way back in 2020, so it's a long time coming. The next Capcom Spotlight livestream will kick off on June 26 at 6pm ET.
Yahoo
2 days ago
- Yahoo
Onimusha: Way of the Sword Is Capcom Sharpening It's Sword
During a hands-off presentation at Summer Games Fest, Onimusha: Way of the Sword quietly emerged as one of the most exciting things on the horizon. Capcom let the game speak for itself. And what it said, loud and clear, is that they're not just reviving Onimusha to ride nostalgia. They're rebuilding it from the hilt up. It's been nearly two decades since Onimusha felt like a pillar of Capcom's portfolio. But with recent remasters and with Way of the Sword on the horizon, the studio is treating the return like an event. This isn't a low-stakes spin-off; this is a full-scale entry with real bite, and a very clear creative vision behind it. It wears its influences proudly, particularly from samurai cinema and modern action design, but it never feels derivative. Set in a stylized version of feudal Kyoto, the game follows Miyamoto Musashi, not the philosophical swordsman of legend, but a younger warrior modeled visually and vocally after Toshiro Mifune, a legendary Japanese actor and producere known for his work in the samurai film genre. That casting choice does a lot of lifting. It grounds the game in a very specific cinematic era. The kind built on black-and-white duels and sharp of course, isn't just slicing up bandits. The supernatural elements are baked in early. He wears the Oni gauntlet on his arm, a cursed artifact that lets him absorb the souls of his enemies. Where most modern action games would streamline this into an auto-pickup system, Way of the Sword makes it an active mechanic. Enemies spill red, blue, and yellow orbs on death. Experience, skills, and health respectively. and Musashi has to manually draw them in. If he doesn't, they fade, or worse, get stolen by other enemies that'll power them up. That twist adds a real-time tension to every skirmish. It's good to see that this mechanic hasn't been lost to the modernization of the series. Combat reaches a new level with the return of the Issen. Veterans of the series know the name well. These are instant-kill counters that trigger on perfect timing and look really cool. Capcom has taken them from a subtle flourish to a centerpiece. Time slows, the camera tightens, and Musashi chains together one-hit kills that feel straight out of a Kurosawa dream sequence. And the best part is how expressive it all feels. We only got a glimpse, but another teased boss, Byakue, looked like a full-on nightmare—a towering, skinless beast covered in talismans and dripping with corruption. The fight was cut short, but the visual alone said enough. This game isn't afraid to get weird, and it knows how to build dread without over-explaining it. The supernatural elements in Way of the Sword extend beyond combat. Musashi can use Oni Visions to reveal hidden paths, phantoms, and clues. In one sequence, he watched a funeral procession turn to ash mid-step, revealing his path. In another vision, he uncovered the moments of a warrior whose soul had been twisted by regret after dispatching members of his village. These Dark Mass fragments add layers of context and melancholy, fleshing out a world that already feels haunted. The structure seems semi-linear from the look of things. You're following a main path, but it looks like there will be optional routes, side objectives, and if its like the previous entries, there should be alternate dialogue options that will offer room to explore. This isn't an open world, and it doesn't want to be. But it's also not a corridor. Instead, it feels like a tightly wound experience with thoughtful room to Way of the Sword is stunning. The art direction is doing the heavy lifting, but the animation work sells the rest. Musashi's stance looks like it shifts subtly depending on the enemy he faces. Even his idle moments feel charged with intent. Enemy design is equally sharp. What's maybe most exciting is how confident this all feels. Capcom isn't second-guessing what Onimusha should be. They've found it again. Not by recreating the past, but by distilling what made it work and making it sing in a new key. It's brutal, beautiful, and unafraid to let silence speak when it matters. There's still plenty we haven't seen. The full scope of the story, the size of the map, how far the mechanics evolve. But if the rest of Way of the Sword keeps this pace, Capcom isn't just reviving a franchise, they're reminding everyone why it mattered in the first place.
