Netflix’s new prestige sci-fi show is delayed until March 22, 2024. 3 Body Problem was originally scheduled to debut in 2023, before being pushed back to January 2024, and now March. Just as the initial delay was accompanied by a teaser trailer, so too is this one:
3 Body Problem is being adapted by David Benioff and D.B. Weiss (who created HBO's Game of Thrones) alongside screenwriter Alexander Woo. The new trailer gives us our first look at the series’ key “video game,” Three-Body, which involves a nebulous and extremely shiny VR headset. According to John Bradley’s character Jack Rooney, the headset has "no screen... no headphone jack... not even a charging port." Donning the headset transports Rooney to a hyper-realistic world, before he’s swiftly ejected and the trailer ends.
The show's source material is The Three-Body Problem, the first novel in Liu Cixin’s Remembrance of Earth's Past series. Originally released in the mid ’00s in China, it gained international recognition and a Hugo award when Tor Books published an English-language translation in 2014. Netflix’s ill-grammared take on the book was announced in 2020, and stars Benedict Wong, Eiza González and several Game of Thrones alums including Jonathan Pryce and the aforementioned Bradley.
This article originally appeared on Engadget at https://www.engadget.com/netflixs-new-3-body-problem-trailer-reveals-a-delay-to-march-2024-004430208.html?src=rss
Netflix’s new prestige sci-fi show is delayed until March 22, 2024. 3 Body Problem was originally scheduled to debut in 2023, before being pushed back to January 2024, and now March. Just as the initial delay was accompanied by a teaser trailer, so too is this one:
3 Body Problem is being adapted by David Benioff and D.B. Weiss (who created HBO's Game of Thrones) alongside screenwriter Alexander Woo. The new trailer gives us our first look at the series’ key “video game,” Three-Body, which involves a nebulous and extremely shiny VR headset. According to John Bradley’s character Jack Rooney, the headset has "no screen... no headphone jack... not even a charging port." Donning the headset transports Rooney to a hyper-realistic world, before he’s swiftly ejected and the trailer ends.
The show's source material is The Three-Body Problem, the first novel in Liu Cixin’s Remembrance of Earth's Past series. Originally released in the mid ’00s in China, it gained international recognition and a Hugo award when Tor Books published an English-language translation in 2014. Netflix’s ill-grammared take on the book was announced in 2020, and stars Benedict Wong, Eiza González and several Game of Thrones alums including Jonathan Pryce and the aforementioned Bradley.
This article originally appeared on Engadget at https://www.engadget.com/netflixs-new-3-body-problem-trailer-reveals-a-delay-to-march-2024-004430208.html?src=rss
With shipments of its Pocket handheld console finally under control, Analogue is turning its attention to a whole new retro machine. The Analogue 3D aims to be the ultimate Nintendo 64, playing original cartridges on modern 4K displays. I’d love to show it to you, but Analogue is only releasing a teaser image and a few key specs today.
The Analogue 3D is the latest in a line of consoles from the company that emulate retro hardware. All of Analogue’s machines use field-programmable gate arrays (FPGA) that are coded to mimic original hardware. Rather than playing ROM files like most software emulators, Analogue consoles play original media — in this case N64 carts — without the downsides that software emulation often brings, such as increased input lag or visual imperfections.
Analogue
Analogue started out with boutique recreations of Neo Geo and NES hardware, before targeting a more casual audience with systems that mimicked the SNES and Genesis. Its most splashy release to date is the Pocket, which emulates a variety of handhelds. There’s also the TurboGrafx-like Analogue Duo, which was announced in 2020 and, after some delays, will apparently ship this year.
That may seem like a disparate group of consoles, but there is one thing that ties them together: they’re all pretty primitive. If you’ve been around a while, you’ll remember consoles being referred to as 8-bit, 16-bit, 32-bit and so on. A lot of that was marketing, but the hardware of 8-bit systems is broadly less complex to recreate than that of 16-bit systems, and so on. As the first true “64-bit” console on the market, the N64 is by far the most complex system Analogue has tackled to date. Its 64-bit 93.75MHz CPU was wild for a $200 console — even if most developers still wrote 32-bit code for it — and its Silicon Graphics “reality coprocessor” was the stuff of (extremely nerdy) playground legend. They made the T-rex from Jurassic Parkwith (better versions of) that thing!
Analogue
The Analogue 3D is described as a “reimagining” of Nintendo’s console, and the company is promising 100 percent compatibility with carts from all regions. It will output at 4K resolution with Original Display Modes that target “reference quality recreations” of specific CRTs and PVMs. To translate, that means Analogue is building filters that might, for example, make a modern OLED or LCD display feel more like a dope mid-'90s Sony Trinitron TV. No word on whether they’re baking in a recreation of the weird LG TV with legs I played on for most of the ’00s.
Internals aside, the N64 has a small library of games and a mistake of a controller, but there are some classics in there. On the first-party side, The Legand of Zelda: Ocarina of Time and Majora’s Mask have both held up to decades of scrutiny, and Mario 64, some camera issues aside, is as fun to play in 2023 as it was in 1996. Then there’s Paper Mario, Mario Kart64, F-Zero X, Star Fox 64, Super Smash Bros. and countless others. Rare also did some fantastic work on the N64 with the likes of GoldenEye 007, Perfect Dark, Banjo-Kazooie, Diddy Kong Racing and Conker's Bad Fur Day.
Quality third-party titles were harder to come by, but Star Wars: Rogue Squadron, Mischief Makers, Harvest Moon 64 and the Turok games are all worth checking out. (I personally spent more time playing Horse in an average port of Tony Hawk’sPro Skater than any of these, but there’s no accounting for taste.)
Analogue / 8BitDo
One thing very few people remember fondly is the N64’s three-paddled controller, which at the time felt fine but boy was it not. The Analogue 3D will have four controller ports, just like the original N64, but it thankfully also supports Bluetooth and 2.4G wireless connectivity. 8BitDo will be releasing a companion controller for the console, which is all-but invisible in the picture above. After some toying around in Photoshop, it appears to be very similar to the company’s Ultimate controller, but with C-buttons where the regular face buttons would be, the A+B buttons replacing the right analog stick and a big ol' start button in the middle.
There’s no word yet on price — early Analogue machines cost a lot, but its more recent efforts have been more palatable. The Analogue Duo, which has a CD drive inside, cost $250 when pre-orders went live, so it seems a fair guess to say it’d be in the same price range — though you’ll need to budget for a couple of controllers no matter the price, as Analogue doesn't supply them with any of its systems.
The Analogue 3D is currently slated to ship in 2024, and knowing Analogue, pre-orders will open some time in the next few months and sell out almost immediately.
This article originally appeared on Engadget at https://www.engadget.com/the-analogue-3d-is-a-nintendo-64-for-modern-times-150020872.html?src=rss
A beetle protagonist emerges into a beautiful, lonely world. There’s no preamble, no text overlays; not even a hint of what you’re meant to do next. So, you walk. After finding your way to a small staircase, you descend, and the steps disappear into the ground — a silent cue that you’re on the right path. A few paces further, you discover a purple pad, and as you stand on it, your iridescent wings begin to quiver. Without thinking about it, you press a button on your controller, the pad turns green, and a nearby rock transforms into a new staircase. Progress!
After solving a couple of rudimentary puzzles, you’ll encounter an orb — these are the heart (and the body) of this game. You carry them on your beetle back, initially using them as keys to open doors and solve puzzles, before discovering that inside every orb is a new world of puzzles and challenges to overcome.
Cocoon is the first game from Geometric Interactive, a studio founded in 2016 by Jeppe Carlsen and Jakob Schmid. Both are alums of Playdead, the Danish studio behind Limbo and Inside, for which Carlsen worked as lead gameplay designer. If you’ve played either of those games, Cocoon’s quietly impressive intro may sound familiar. Both were side-scrolling puzzle-platformers that used their environments and challenges to simultaneously tell a story and guide their players. The story is much the same here, but Cocoon’s structure of layered, interconnected worlds showcases another level of maturity and artistry.
The game actually opens inside the orange orb, a gorgeous desert world, and expands out from there. Each world is protected by a guardian, which needs to be defeated in order to fully unlock the orb’s power outside of that world. Unlocking the orange orb, for example, allows you to walk on hidden paths while carrying it. Each orb grants its own powers, and all are critical to progression.
Annapurna Interactive
The guardians are the game’s “boss fights.” Though there is no traditional combat, each guardian is certainly combative, and there is a degree of skill and timing required to best them. One of the later encounters did actually trip me up a few times, which is as good a time as any to mention that Cocoon has absolutely no fail state. Getting tagged by a guardian doesn’t hurt, they merely throw you outside of their orb — hop back in and you’ll return to the encounter within a couple of seconds. Likewise, you can’t mess a puzzle up to the point that you need to reload.
In isolation, the guardians are probably the game’s weakest moments, but they do provide a nice break from the puzzle-solving alongside a bit of visual spectacle. This is broadly a beautiful game to see and hear, full of bright pastel hues and beds of synth pads, and in places it’s surprisingly gross. What starts as a tranquil walk through something approximating the American Southwest quickly devolves into goopy bio-horror, and I’m very here for it. I started playing the game on a little Ayaneo handheld PC, but about quarter-way through moved over to the Xbox — while it’s a fun thing to play on a portable, the art and sound design really does benefit from a big screen and some decent speakers or headphones.
I think the bigger screen actually helped me — though this is more a review of my eyesight than the game — solve puzzles faster. Toward the end of the game, you’ll find yourself truly disoriented as you jump in and out of worlds and portals, twisting the game’s logic on its head to progress. I feel like I would’ve missed some of the environmental cues — again, my old eyes — had I been playing on a 6-inch screen.
Annapurna Interactive
I only truly got stuck once, when I spent an hour wandering around, trying to figure out what exactly I had to do to solve a puzzle. (The answer, as you’d expect, was blindingly obvious.) Cocoon doesn’t hold your hand, but it is a helicopter parent — in a good way! — gently hovering over you and pushing you in the right direction. There are environmental cues scattered around, and you’ll notice throughout that gates shut behind you at key moments. This prevented me from trying to double-back to see if I’d missed something, an activity that represents half of my playtime in similar games. Subtly locking you in an environment is the game’s way of saying “you have everything needed to progress, so stop being so dense and figure it out.”
Cocoon is a game I can (and will) recommend to anyone that plays video games, and plenty who don’t. Perhaps my only complaint is that I want more. The game only actually introduces, to my count, six core mechanics, and each of those are mixed, matched and remixed in truly creative ways. I appreciate a game being as long as its developer wants it to be, but the bones here are so good, so satisfying, that I can’t help feeling it can hold up to more orbs, more puzzles.
That said, the seven hours or so I spent with Cocoon are among the most memorable of this decade, and I’ll definitely be returning to it in a couple of years, once my brain has purged all of the answers to its puzzles.
This article originally appeared on Engadget at https://www.engadget.com/cocoon-is-a-near-perfect-puzzle-game-that-everyone-should-play-190051423.html?src=rss
A beetle protagonist emerges into a beautiful, lonely world. There’s no preamble, no text overlays; not even a hint of what you’re meant to do next. So, you walk. After finding your way to a small staircase, you descend, and the steps disappear into the ground — a silent cue that you’re on the right path. A few paces further, you discover a purple pad, and as you stand on it, your iridescent wings begin to quiver. Without thinking about it, you press a button on your controller, the pad turns green, and a nearby rock transforms into a new staircase. Progress!
After solving a couple of rudimentary puzzles, you’ll encounter an orb — these are the heart (and the body) of this game. You carry them on your beetle back, initially using them as keys to open doors and solve puzzles, before discovering that inside every orb is a new world of puzzles and challenges to overcome.
Cocoon is the first game from Geometric Interactive, a studio founded in 2016 by Jeppe Carlsen and Jakob Schmid. Both are alums of Playdead, the Danish studio behind Limbo and Inside, for which Carlsen worked as lead gameplay designer. If you’ve played either of those games, Cocoon’s quietly impressive intro may sound familiar. Both were side-scrolling puzzle-platformers that used their environments and challenges to simultaneously tell a story and guide their players. The story is much the same here, but Cocoon’s structure of layered, interconnected worlds showcases another level of maturity and artistry.
The game actually opens inside the orange orb, a gorgeous desert world, and expands out from there. Each world is protected by a guardian, which needs to be defeated in order to fully unlock the orb’s power outside of that world. Unlocking the orange orb, for example, allows you to walk on hidden paths while carrying it. Each orb grants its own powers, and all are critical to progression.
Annapurna Interactive
The guardians are the game’s “boss fights.” Though there is no traditional combat, each guardian is certainly combative, and there is a degree of skill and timing required to best them. One of the later encounters did actually trip me up a few times, which is as good a time as any to mention that Cocoon has absolutely no fail state. Getting tagged by a guardian doesn’t hurt, they merely throw you outside of their orb — hop back in and you’ll return to the encounter within a couple of seconds. Likewise, you can’t mess a puzzle up to the point that you need to reload.
In isolation, the guardians are probably the game’s weakest moments, but they do provide a nice break from the puzzle-solving alongside a bit of visual spectacle. This is broadly a beautiful game to see and hear, full of bright pastel hues and beds of synth pads, and in places it’s surprisingly gross. What starts as a tranquil walk through something approximating the American Southwest quickly devolves into goopy bio-horror, and I’m very here for it. I started playing the game on a little Ayaneo handheld PC, but about quarter-way through moved over to the Xbox — while it’s a fun thing to play on a portable, the art and sound design really does benefit from a big screen and some decent speakers or headphones.
I think the bigger screen actually helped me — though this is more a review of my eyesight than the game — solve puzzles faster. Toward the end of the game, you’ll find yourself truly disoriented as you jump in and out of worlds and portals, twisting the game’s logic on its head to progress. I feel like I would’ve missed some of the environmental cues — again, my old eyes — had I been playing on a 6-inch screen.
Annapurna Interactive
I only truly got stuck once, when I spent an hour wandering around, trying to figure out what exactly I had to do to solve a puzzle. (The answer, as you’d expect, was blindingly obvious.) Cocoon doesn’t hold your hand, but it is a helicopter parent — in a good way! — gently hovering over you and pushing you in the right direction. There are environmental cues scattered around, and you’ll notice throughout that gates shut behind you at key moments. This prevented me from trying to double-back to see if I’d missed something, an activity that represents half of my playtime in similar games. Subtly locking you in an environment is the game’s way of saying “you have everything needed to progress, so stop being so dense and figure it out.”
Cocoon is a game I can (and will) recommend to anyone that plays video games, and plenty who don’t. Perhaps my only complaint is that I want more. The game only actually introduces, to my count, six core mechanics, and each of those are mixed, matched and remixed in truly creative ways. I appreciate a game being as long as its developer wants it to be, but the bones here are so good, so satisfying, that I can’t help feeling it can hold up to more orbs, more puzzles.
That said, the seven hours or so I spent with Cocoon are among the most memorable of this decade, and I’ll definitely be returning to it in a couple of years, once my brain has purged all of the answers to its puzzles.
This article originally appeared on Engadget at https://www.engadget.com/cocoon-is-a-near-perfect-puzzle-game-that-everyone-should-play-190051423.html?src=rss
Cocoon is a game that makes perfect sense while you're playing it. That would be an unremarkable achievement if it wasn't also a game that forces you to use its levels to solve themselves. At Summer Game Fest 2023 I had around half an hour to play through the game’s opening, and it has stuck with me more than anything else I saw at the show.
Cocoon is the debut game from Geometric Interactive, a studio founded by former Playdead employees Jeppe Carlsen and Jakob Schmid. Carlsen was the lead gameplay designer of the award-winning puzzle platformers Limbo and Inside, and Schmid the audio programmer of Inside. The pair also collaborated on 140, a minimalistic indie platformer, and have been working on Cocoon with a small team in Denmark for over five years.
As in Limbo, Inside and 140, controls and interactivity in general are pared back to a minimum. On an Xbox controller, that means movement with an analog stick and interactions confined to a single button. The complexity comes from the environment, the narrative from exploration. It’s reminiscent of Tunic or Hyper Light Drifter in its lack of dialogue and tutorials.
Orbs are everything in Cocoon. They're assets that open doors, trigger switches, reveal hidden paths and solve puzzles, but they’re also levels themselves. Remember that scene in Men In Black where there’s an entire galaxy in a little marble on a cat's collar? Geometric Interactive has taken that idea and made it a core mechanic. Each orb is a distinct world with its own vibe, original puzzle mechanics and a boss fight. You can hop in and out of these worlds by placing an orb into sockets dotted around the game, and can even bring orbs into other orbs, which, given the abilities they unlock, will likely be critical to finding paths forward.
I say there’s a “boss fight” in every orb, but there is no conventional combat in Cocoon – there is just a single interaction button, after all. You defeat bosses by using something in the environment like a water spout or an exploding mine. These fights are also forgiving: I took a “hit” once, and it revealed a delightful mechanic: Instead of dealing damage or killing me, the boss booted me out of its world. I then had to traverse back to the fight to finish it off. Defeating the two bosses I found granted new powers of sorts, in classic Metroidvania style, which allowed progression to new areas and the discovery of more orbs.
There were other simple environmental puzzles to solve. One involved ascertaining the order in which to hit some switches, another had me pulling towers around to open a door. A slightly trickier one involved some doubling back to navigate a hidden path. Given this was the very start of the game, I’m sure the complexity will ramp up significantly. By the end of my playthrough, I was already jumping in and out of worlds in order to get orbs to where they needed to be.
A colleague who was watching my demo said that they could tell I’ve "played a lot of these types of games” — thing is, I haven’t. Cocoon is a game where everything makes sense, but you can’t explain why. I'm sure, as in other puzzle adventures, I'll get stumped in some places, but exploring this world felt completely natural. After a while I stopped being surprised that everything I tried just worked. Solving puzzles became a flow state as I giddily wandered around carrying my precious orbs.
Cocoon is firmly at the top of my wishlist already, and it’s tough imagining anything overtaking it. It’s being published by Annapurna Interactive, and will come to Nintendo Switch, PC, PlayStation and Xbox consoles later this year.
Catch up on all of the news from Summer Game Fest right here!
This article originally appeared on Engadget at https://www.engadget.com/cocoon-is-worth-getting-excited-about-181529189.html?src=rss
"Basically, we're not planning a distinct sequel at all."
Dan Greenawalt, GM of the Forza series, has been working on Motorsport games for two decades, but his remarks in a post-Xbox Showcase briefing on Sunday suggest this next release could be the last in the series. Forza Motorsport is the eighth title in Turn 10 Studios' driving sim franchise, and the first new entry in almost half a decade.
Forza has been one of Microsoft’s most reliable first-party properties. Ignoring Playground Games' spinoff Horizon series, the original Xbox had one Forza title, the Xbox 360 had three, and the Xbox One had three. Barring a few launch hiccups, every title has been well-reviewed and the franchise as a whole has sold millions. We’re now in the third year of this console generation, and there’s been no Motorsport game for fans to play.
A lot’s changed since Forza Motorsport 7 arrived in September 2017. The “day one with Game Pass” paradigm shift started with Sea Of Thieves in 2018, and has since become Microsoft’s entire business model. Now, Microsoft measures success more like a social network (or a tech news publication), focusing on monthly active users and playtime, rather than sales.
It should come as no surprise, then, that Forza Motorsport is set up more like a service game than a traditional AAA title.
While many of the modes that Forza players expect, especially the online multiplayer component, are being reworked and improved, Turn 10 is betting that its new career mode will keep players coming back week after week. At Summer Game Fest, the game’s creative director Chris Esaki talked a group of journalists through this new career-mode loop and the shift in philosophy for the series.
Esaki described Forza Horizon as “a whole new take on falling in love with cars.” We saw a career mode event called the Builders Cup, which began with a narrated showcase of a trio of cars. After picking one to roll with, you then head into “open practice,” where you get to know the car. These sessions are packed full of stats and challenges; you earn Car Experience Points (CXP) for every corner you take, and the closer to perfection you are the more CXP you’ll get. CXP is specific to each car, and is used to upgrade parts and customize vehicle performance.
After open practice, you head into a race, where there’s a new “challenge the grid” system that lets you essentially bet against your racing talent. You choose where on the grid to start and how fast your AI opponents are, with higher rewards as the difficulty scales up. After competing in the race itself, you’ll earn money for new vehicles as well as more of the car-specific CXP. Then it’s onto the next open practice, more tuning and customization, and more races.
Esaki calls this loop “level, build, dominate.” He sees it as a way to get players interested in a broad swathe of cars, rather than having them head straight to a Ferrari or Bugatti. That might sound like the ethos of another popular racing sim, but while there are definitely elements of Gran Turismo 7’s cups and café challenges in here, the Builders Cup feels both more contained and more repeatable. It’s all by design: Similar to recent Forza Horizon games, players can expect a big content update monthly, which then rolls out week-by-week.
We’ll likely hear much more about Forza Motorsport in the lead up to its release on October 10th, and I’m interested to try out the new simulation features, like a massively overhauled physics system and improved opponent AI. For now, though, the pitch seems solid. I’m a huge fan of Gran Turismo 7, but if you don’t enjoy online sim racing and the toxicity that comes with it, its single-player experience is fairly threadbare. In contrast, Turn 10 seems to have developed Forza Motorsport as a game that will last forever, with new experiences every week designed to satiate gamers’ desire for fresh races and Microsoft’s desire for monthly active users.
Catch up on all of the news from Summer Game Fest right here!
This article originally appeared on Engadget at https://www.engadget.com/forza-motorsport-wants-you-to-drive-forever-183033371.html?src=rss
Razer is upgrading its Kishi mobile gaming grip for 2022. The Razer Kishi V2 is redesigned around a more-solid sliding bridge, which will allow for wider device compatibility compared to the original pad's flexible bridge. The rubber inserts that hold your phone snug can also be removed, which Razer helpfully says will support "some phones with phone cases." Good luck figuring out if that includes yours.
While the main inputs look unchanged, the V2's switches — the things underneath the buttons that actually register that you're pressing them — have also been reworked, swapping out membranes for the microswitches found in Razer's Wolverine console pad. There are also tweaks to the function keys, with a dedicated 'Share' button added at the front and a pair of programmable bumpers situated next to the shoulder triggers.
The Razer Nexus app
Razer
The Share button will only work with Razer Nexus, the company's new companion app for Android that it hopes you'll launch your games from. Nexus will also help you discover compatible games, stream your gameplay to YouTube or Facebook, tweak controller settings and program those new bumpers.
As with the original pad, the Kishi V2 connects over USB-C, avoiding the latency of Bluetooth options. The Android version is available today for $99.99, and an iOS version will hit the market this fall.
At its CES press conference today, NVIDIA teased a new flagship GPU: the RTX 3090 Ti. It says more details will arrive soon, but handed out a few specs to tide its fans over until then.
As a refresher, NVIDIA currently has the RTX 3090 at the top of its stack, with the RTX 3080 Ti close behind and the RTX 3080 as the mainstream flagship. All three are based on the same GA102 chip, with the number of active cores, clock speeds and memory configurations being the key differentiators. The RTX 3090 Ti will usurp the 3090 as the ultra high-end GPU outside of its creator line.
Like the 3090, the 3090 Ti will have 24GB of GDDR6X memory, except it’ll be running at 21Gbit/s, as opposed to the 19.5Gbit/s of the 3090’s memory. NVIDIA also says the GPU is capable of calculating 40 shader teraflops, 78 RT teraflops and 320 tensor (AI) teraflops That compares to the 3090’s 35.6 shader teraflops, 69.5 RT teraflops and 285 tensor teraflops.
Those figures represent a 12.5-ish percent increase over the 3090 across the board, and will likely make the 3090 Ti the most powerful gaming card ever released. We won’t know exactly how NVIDIA has achieved this until it shares full specs, but we can make some educated guesses.
The 3090 only has 82 out of the GA102’s 84 streaming multiprocessors activated, so it’s likely the 3090 Ti has all 84 running. Then, in addition to the memory clocks being a little faster, it’s likely NVIDIA has elevated the main GPU clock speeds slightly. Some napkin math suggests the boost clock will need to be at around 1,850MHz on the 3090 Ti (compared to 1,695MHz on the 3090) to reach the 40-teraflop figure NVIDIA has provided.
NVIDIA says “more details will be coming later this month,” so we’d expect a small event focused on the 3090 Ti to be announced soon, where we’ll find out how exorbitantly priced the 3090 Ti will be – remember that the 3090 itself has an RRP of $1,500 – and when people will theoretically be able to buy one.
NVIDIA
Also announced at CES is the RTX 3050, which is set to become the cheapest 30-series desktop GPU to date. NVIDIA hasn’t given us full specifications on this one either, but it has 8GB of GDDR6 memory, and will be able to calculate 9 shader teraflops, 18 RT teraflops and 73 tensor teraflops. NVIDIA says it’ll be able to power “the latest ray-traced games at over 60 frames per second,” which is probably true if factoring in the company’s DLSS upscaling tech.
As is usually the case with lower-end cards, there won’t be a “founders” edition sold directly by NVIDIA, but the RTX 3050 will go on sale through the company’s various hardware partners on January 27th, with an RRP of $250.
Follow all of the latest news from CES 2022 right here!
Companies like Razer, Alienware and Asus ROG have been offering laptops with RTX 3080 and 3070 GPUs inside for a while now, but over the summer NVIDIA launched a pair of upgraded desktop cards: the 3070 Ti and 3080 Ti. Now, the company is bringing the “Ti” brand over to laptops.
The 3080 Ti will be available in laptops priced $2,499 and above. NVIDIA says it’s faster than last generation’s Titan RTX desktop card, and will be able to play (unspecified) games with 1440p ultra settings at over 120 fps. It also features 16GB of GDDR6 clocked at “the fastest ever seen in a laptop.” Exact details beyond that haven’t been shared yet, but the first 3080 Ti laptops will be available in February, so we won’t have long till we find out exactly what they’re capable of.
NVIDIA
The 3070 Ti will be available in laptops priced $1,499 and above. NVIDIA says this one is “70 percent faster than the RTX 2070 Super laptops,” which isn’t a particularly helpful figure but hey-ho. It’ll apparently be able to run 1440p games at ultra settings at 100 fps, and, again, will start appearing in laptops in February.
Finally, NVIDIA announced some new technologies for Max-Q laptops, including an AI CPU Optimizer which can control the frequencies and power draw of certain Intel and AMD "next-gen" CPUs, Rapid Core Scaling which can turn off some GPU cores while boosting the frequencies of others for productivity tasks, and Battery Boost 2.0, which will tune both your game and your hardware to apparently improve gaming while on battery. NVIDIA claims that last one can increase your battery life by 70-percent, presumably at the expense of in-game performance.and fidelity.
NVIDIA
Follow all of the latest news from CES 2022 right here!