logo
Resident Evil 9 could be revealed at Summer Game Fest this week

Resident Evil 9 could be revealed at Summer Game Fest this week

Metro02-06-2025

The next instalment in Capcom's Resident Evil series will debut this week according to sources, with all signs pointing to a 2026 launch.
Ahead of Summer Game Fest and the other showcases of this month's not-E3 season, one of the big questions is whether we'll see more on the future of Resident Evil.
Capcom confirmed Resident Evil 9 was in development last July, with Koshi Nakanishi, the director of Resident Evil 7, at the helm. Since then, we've heard nothing official about the next entry, but rumours suggest it will sport an open world and star Leon S. Kennedy.
Almost a year later, several insiders have claimed Capcom is preparing for a big reveal at Summer Game Fest on Friday, June 6.
The rumour first appeared via YouTuber ScreenFire Germany last month, where they claimed the first trailer for Resident Evil 9 will be shown at the event, albeit with the caveat that the information is 'without guarantee' and could 'change'.
The source, who was the first to claim remakes of Resident Evil Zero and Code Veronica are in development, also states that Resident Evil 9 is planned for the first quarter of 2026 – although it will likely come after March, according Capcom's recent financial projections.
Resident Evil celebrates its 30th anniversary next year, on March 22, so it's very possible the ninth entry could land somewhere around this date.
Following these claims, fellow Resident Evil insider AestheticGamer aka Dusk Golem has now stated they are '95% positive' that Resident Evil 9 will show up at Summer Game Fest.
(1/3) Again, not like I can give 100% confirmation, no one's directly told me or the like. But at this point I'm like 95% positive we're on the verge of RE9 being revealed at SGF. This is the first time behind the scenes there's a lot of buzz in the grapevine, lots of rumblings https://t.co/5po7XsOsVA — AestheticGamer aka Dusk Golem (@AestheticGamer1) June 2, 2025
In a post on X, Dusk Golem wrote: 'Again, not like I can give 100% confirmation, no one's directly told me or the like. But at this point I'm like 95% positive we're on the verge of Resident Evil 9 being revealed at Summer Game Fest.
'This is the first time behind the scenes there's a lot of buzz in the grapevine, lots of rumblings and the sorta activity behind the scenes that usually are signs we're about to get a Resident Evil game announced.'
While they don't go into specifics on these 'rumblings', Capcom recently appeared to tease Resident Evil 9 in a video promoting Resident Evil 4 remake. More Trending
The past two mainline Resident Evil games, Resident Evil 7 and Resident Evil Village, were both announced during Sony events in 2016 and 2020, respectively. Sony hasn't announced a State Of Play presentation for this month, but one is rumoured.
However, Capcom is a confirmed partner at Summer Game Fest, so it's possible Resident Evil 9 could show up at the latter instead.
It's also true that publishers often change their mind about their reveals at the last minute and it may well be the case that Capcom hasn't 100% settled on an unveiling this month.
Beyond the ninth entry, Capcom is also rumoured to be working on several Resident Evil remakes, with the next one expected to be Resident Evil Zero.
Email gamecentral@metro.co.uk, leave a comment below, follow us on Twitter, and sign-up to our newsletter.
To submit Inbox letters and Reader's Features more easily, without the need to send an email, just use our Submit Stuff page here.
For more stories like this, check our Gaming page.
MORE: The Crew 3 and Assassin's Creed 4 remake in development at Ubisoft claims source
MORE: Black Ops 6 players threaten to quit over new microtransaction ads
MORE: Survival Kids hands-on preview – the biggest Switch 2 third party exclusive

Orange background

Try Our AI Features

Explore what Daily8 AI can do for you:

Comments

No comments yet...

Related Articles

PS5 is more profitable than all other PlayStation consoles combined
PS5 is more profitable than all other PlayStation consoles combined

Metro

timea day ago

  • Metro

PS5 is more profitable than all other PlayStation consoles combined

Despite being a stunted console generation, the PS5 is Sony's most profitable piece of gaming hardware, and by a considerable margin. Between the lack of games which push the hardware and the unfufilled promises around its technical capabilities, the PlayStation 5 era might go down as the worst console generation ever. The problems have been amplified by Sony's push towards live service games, most of which have either been cancelled or removed from existence – leading to large gaps in the release cycle, amongst Sony's first party studios. Sadly, while the PlayStation 5 has been disappointing when it comes to actual games, it's easily Sony's most profitable console ever. As revealed in the company's business meeting earlier this week, and highlighted by analyst Daniel Ahmad, the PlayStation 5 generation has earned Sony $13 billion (£9.6 billion) in profits since the console launched in November 2020. When you tally up the profits of prior generations, this is higher than all of Sony's prior consoles combined. The original PlayStation and PlayStation 2 took in $3 billion and $2 billion, respectively, while the PlayStation 3 lost Sony $4 billion, and the PlayStation 4 gave the company a $9 billion boost. When tallied together, including the losses, it comes to around $10 billion in cumulative profits. Sign up to the GameCentral newsletter for a unique take on the week in gaming, alongside the latest reviews and more. Delivered to your inbox every Saturday morning. Another slide in Sony's presentation breaks down where the PlayStation 5's profits are coming from, with a key part being the increase in spend across services like PlayStation Plus and 'game content'. Sony held its Business Segment Meeting today. Here are some key takeaways regarding its PlayStation business. The PS5 generation has generated $13 billion in profits. This is compared to the $10 billion cumulative profit generated during the PS1-PS4 generation (RIP PS3). — Daniel Ahmad (@ZhugeEX) June 13, 2025 When compared to the PlayStation 4 generation, the average life-to-date spend per PlayStation 5 console on content (physical and digital games, and add-ons) has increased by 21%. More Trending Spending on services, which includes PlayStation Plus and PlayStation Network, has increased by 63%, while peripheral spend has jumped up 27%. As part of these service profits, Sony states 38% of PlayStation Plus subscribers are now paying for the Premium or Extra tiers, up from 30% two years ago. This is rather discouraging, because it means Sony has little incentive to change its current strategy – even as it continues to fumble with games like Concord and Marathon, the latter of which was recently delayed indefinitely. The big problem for Sony might be when it comes to convincing players to jump to the inevitable PlayStation 6, which Sony recently stated is 'top of mind' at the company. Email gamecentral@ leave a comment below, follow us on Twitter. To submit Inbox letters and Reader's Features more easily, without the need to send an email, just use our Submit Stuff page here. For more stories like this, check our Gaming page. MORE: Every Nintendo Switch 2 launch game reviewed – all 25 games so far MORE: Switch 2 third party games sold 'below our lowest estimates' says publisher MORE: Metroid Prime 4 advert on London tube confuses everyone with 'out now' sticker

From Street Fighter to Final Fantasy: Yoko Shimomura, the composer who put the classical in gaming's classics
From Street Fighter to Final Fantasy: Yoko Shimomura, the composer who put the classical in gaming's classics

The Guardian

time2 days ago

  • The Guardian

From Street Fighter to Final Fantasy: Yoko Shimomura, the composer who put the classical in gaming's classics

Alfred Hitchcock, David Attenborough, Harold Pinter, Stanley Kubrick, Ridley Scott, Hideo Kojima – these are just a few of the recipients of the Bafta fellowship, the highest honour the academy can bestow. Japanese composer Yoko Shimomura is the latest to receive the accolade; one of only 17 women and four Japanese people to have done so. She is also the first video-game composer to be recognised by the British Academy of Film and Television Arts, and the first composer recognised at all since John Barry in 2005. It is with good reason that the academy has honoured her. Shimomura is an icon. You'll know her music from Street Fighter, Final Fantasy, Super Mario, Kingdom Hearts, Legend of Mana, Streets of Rage and more than 70 other games she has contributed original compositions or arrangements to. Her 37-year-long career has seen her record at Abbey Road Studios, have her music played by symphonic orchestras around the world, and work in genres ranging from rock to electronica, ambient to industrial, pop to opera. And yet Shimomura seems unchanged by her success. 'Certainly, over the course of my career, there have been a number of times – a lot of times perhaps, compared to other people – where I have struggled. Enough to think maybe I want to give up.' She tells me that even as far back as her first job at Japanese developer Capcom, she thought she had maybe two or three years in her before she'd quit. She also says she applied for that job with 'barely any hope of getting accepted' – with a modesty that still seems a core part of her character. 'Even though I love this job, there have been plenty of times when it was really hard for me to continue. I couldn't sleep, and I would especially struggle as deadlines would approach.' Part of her fatalism came from the culture of video games in Japan in the late 80s. Despite the thriving arcade and development scene later leading to the mainstream success of the PlayStation in the mid-90s, pursuing a career in video games was seen as a dubious prospect by Shimomura's peers and family. 'This is something I think most gamers who were around at the time will understand,' she laughs. 'Generally, my friends and people I hung out with were not big gamers, so they weren't too familiar with what games really were. At the time, a lot of them were confused about what a job in video-games music even was! Certainly, my parents were not of the generation who would have played the Famicom [the NES], so they would say things like: 'Oh, video-game music? Is that a job? Is that real?' There was a lack of knowledge and understanding about the profession, really.' Surprisingly, given the male-dominated western world of video games in the 80s and 90s, Shimomura tells me that a lot of her colleagues in the sound department at Capcom were women. The developer split its composers into corporate and consumer divisions, where the top staff were all female. 'I felt that since the head staff were women,' she says, 'it was easier for other women to join the department.' Her peers began to understand how serious Shimomura was about her musical career with the release of Street Fighter II in 1991, the ninth game she worked on. 'That's when the tide started to turn. It sold so much, and so many people knew it and became familiar with my music, that it was a really significant title for me. I certainly think it's why I ended up working with Square on titles like Live a Live and Front Mission – because the bosses there knew me from Street Fighter.' For Street Fighter, Shimomura would study the character designs and personalities of the fighters, then design themes for them. She would also pore over the detailed pixel art stages for each character, and draw out details from their 'home stage'. She would then compose music based on the character's ethnicity and culture, often to striking and unusual effect. The best example, to my ear, is the use of a major key rhythm track for the Brazilian fighter Blanka, while the main melody playing on top of the rhythm is in minor. It's odd but it works, and gives the green-and-orange fighter a musical identity as as much as a visual one. Shimomura's classical background gave her the tools to work techniques such as this into her music. She eventually departed Capcom for Square, the most famous RPG developer in the world, because she wanted to work on games where she could utilise classical composition techniques. 'Why is classical music such a good fit for RPGs? I think it's because so many of those titles are set in medieval, European-style worlds where that music naturally belongs,' she says. 'But even if an RPG is set in a more modern take on a world, they're very rarely close to reality; the game world is of another age. And classical music is of another age too, so it's a very good fit.' The first project Square set Shimomura to work on was Live a Live, a 1994 RPG that takes players on a fantastical journey as eight characters across nine scenarios. 'There are so many different worlds and different settings in there, and very few of them actually needed classical music, so it was completely different to what I was expecting,' she laughs. Sign up to Pushing Buttons Keza MacDonald's weekly look at the world of gaming after newsletter promotion Shimomura would not get to flex her classical music muscles the way she really wanted to until Square's 1999 release Legend of Mana, on which she felt she could truly express herself. 'Until that point, at Square, the projects I worked on did not allow me to do something 100% from scratch,' she explains. 'There were always other factors, other legacy things that went before it. Music in Live a Live had to align with the characters. For Parasite Eve, I had to work with what was established in the original game. Mario RPG, of course, is set in the world of Mario and had to be 'Mario music'. I was not free to create something from the ground up until Legend of Mana.' Legend of Mana would be foundational for the rest of Shimomura's career. Three years later she would work on Kingdom Hearts, the now-mainstream success that trades on the unlikely idea that the worlds of Final Fantasy and Disney could somehow become merged. 'When it first released, Kingdom Hearts wasn't a big hit,' Shimomura recalls. 'After it was released, it was one of those hard times I mentioned before: I left Square, and I wasn't sure if I was going to continue in this job or not. But then they came back to me and asked if I wanted to work on Kingdom Hearts II, and that was significant for two reasons. One, it proved I could continue doing this as a freelancer. And two, it was the first time I'd been asked to come back and work on another game in a series.' Even at that point, 17 years into her career, Shimomura was uncertain about her standing in the world of video-game music. 'I think, both professionally and in a sense of personal growth, that's why Kingdom Hearts means so much to me.' Now, 37 years since her first job at Capcom, Shimomura has been lauded with Bafta's highest honour, and she is still as polite, humble and respectful as the young woman poring over Street Fighter's stages. 'I was blessed to have mentors and seniors who really helped me grow as a composer and taught me a lot of what made me who I am,' she says. 'I feel very lucky, and it is down to all those people that I am here talking to you today.' And her advice to other young women hoping to break into making music for games today? Be tenacious, persevere and work through that self-doubt. 'I think the reason I haven't given up is because I always make myself think of the love I have for music and for games. I cherish that feeling. And so if people do ever think they want to give up, please, cherish that feeling of love yourself, and keep going. I hope I can be an example for people when times are tough. If I can get over that, I hope that they can too.'

You can buy one of the best games ever for the price of an ice lolly
You can buy one of the best games ever for the price of an ice lolly

Metro

time2 days ago

  • Metro

You can buy one of the best games ever for the price of an ice lolly

The GOG summer sale is live and a discount on one of our favourite games is so good it feels almost criminal. We've highlighted some fantastic sales deals for video games recently (such as Sony's Mid-Year Deals sale, which went live yesterday) but we don't think we've ever seen a discount as generous as this one. We've always loved XCOM 2, a strategy game so perfect that we can easily recommend it even nearly 10 years after release and one we still hope developer Firaxis Games will return to with a new sequel. If you've yet to play it yourself, you really have no excuse now, as you can currently buy the game on PC for such a low price that it almost feels insulting to the game. GOG is currently running its annual summer sale, boasting discounts upwards of 95% off, across more than 8,000 PC games. We don't need to see the full list to tell you that XCOM 2's discount is the best deal. Instead of its usual asking price of £34.99, you can buy it for just £1.79. This doesn't include any of the DLC, but almost all of that's discounted too, including the equally excellent War Of The Chosen expansion for just £3.49. Sign up to the GameCentral newsletter for a unique take on the week in gaming, alongside the latest reviews and more. Delivered to your inbox every Saturday morning. That means you can get two 10/10 classics – XCOM 2 and War Of The Chosen – for just £5.28. That's less than the price of a pint of beer in London nowadays. It's such a good deal that we can't help but worry it devalues the game, and gaming in general. When titles of this quality are barely more expensive than a Mars Bar, and cosmetics for Fortnite are 10 times the price, it does feel as if something has gone badly wrong. More Trending No that we're complaining about low prices though, and XCOM 2 is far from the only generous deal at the moment. Cyberpunk 2077: Ultimate Edition is almost half off at £34.49 and The Witcher 3: Wild Hunt – Complete Edition is even cheaper at £7. You can view the full list of discounted PC games on GOG's storefront here, but the summer sale is only set to last for a few weeks, until July 9. While there's sadly no sign of Firaxis considering an XCOM 3 yet – in part because a lot of the top developers left after Marvel's Midnight Suns proved a flop – EA looks set to deliver the next best thing with next year's Star Wars Zero Company. It's certainly in good hands since developer Bit Reactor is comprised of former Firaxis staff who have experience with the XCOM games, something Zero Company is taking very obvious inspiration from. Email gamecentral@ leave a comment below, follow us on Twitter. To submit Inbox letters and Reader's Features more easily, without the need to send an email, just use our Submit Stuff page here. For more stories like this, check our Gaming page. MORE: XCOM: Chimera Squad review – alien collaboration MORE: XCOM 2 Collection Nintendo Switch review – less than perfect MORE: How to make XCOM 3 the perfect strategy game – Reader's Feature

DOWNLOAD THE APP

Get Started Now: Download the App

Ready to dive into a world of global content with local flavor? Download Daily8 app today from your preferred app store and start exploring.
app-storeplay-store