Rockstar has revealed the PC system requirements for Grand Theft Auto: The Trilogy – The Definitive Edition and, surprise surprise, they're not that demanding. This is a remaster of games from the PS2 era, after all.

Despite their spruce up, with lovely new textures and lighting effects, the new versions of GTA will only require 2-3GB of graphics memory at minimum, with 4GB recommended. It's also looking for a relatively modest CPU, although still asks for the usual 8-16GB of RAM. We also have a file size: 45GB for the whole trilogy. It's currently unclear if the install can be split across the three games.

The full PC system requirements are:

Minimum system requirements

• OS: Windows 10 64-bit
• Processor: Intel Core i5-6600K / AMD FX-6300
• Memory: 8GB
• Graphics: Nvidia GeForce GTX 760 2GB / AMD Radeon R9 280 3GB
• Disk: 45GB

Recommended system requirements

• OS: Windows 10 64-bit
• Processor: Intel Core i7-2700K / AMD Ryzen 5 2600
• Memory: 16GB
• Graphics: Nvidia GeForce GTX 970 4GB / AMD Radeon RX 570 4GB
• Disk: 45GB

Grand Theft Auto: The Trilogy – The Definitive Edition was announced earlier this month, and is set to launch on November 11. They will replace the original versions, as they have been removed from digital storefronts.

Matt Purslow is IGN's UK News and Entertainment Writer.

Sony has confirmed that the upcoming God of War PC port will be handled by Canadian studio Jetpack Interactive. The company previously provided engineer support for Dark Souls' PC version.

In a statement provided to ArsTechnica, Sony said that original God of War developer Sony Santa Monica is overseeing the PC version's development, which is being handled by Jetpack Interactive. The studio, based in Vancouver, is a port-focused developer who has previously worked with EA on Plants vs Zombies: Garden Warfare 2, and NBA Live 15 and 14. It also completed the PS4 port duties on Orcs Must Die! Unchained for Robot Entertainment.

The choice of Jetpack Interactive may come as a surprise, since Sony acquired PC port specialist Nixxes earlier this year. The deal was only announced in July, though, so if the God of War PC version has been in development for a while, that may be the reason Jetpack and not Nixxes are handling the port. We expect Nixxes to be involved in further projects, though, since Sony has made a commitment to bring PlayStation games to PC.

The God of War PC version was announced this month, and will bring PS4's smash hit to computers via Steam and the Epic Games Store. It'll no doubt prove popular on PC, as we gave it a full 10/10 review and later made it our 2018 game of the year. Recently, voters in a series of IGN polls named it the best video game of all time.

Matt Purslow is IGN's UK News and Entertainment Writer.

You can get Funko Pop figures and other toys with tremendous discounts for one day only in the latest Amazon Deal of the Day sale. This includes discounts on Star Wars, Marvel, Transformers, and more.

But, with this being a limited time sale, you don't have much time to spare, so head on over the sale now to see what's on offer (see here). Or, to make things easier for you, we've found the absolute best deals in the sale, and have listed them just below, check them out.

Funko Pop Deals: Star Wars, Marvel, and More

Action Figure and More Deals: Transformers, DC, Ghostbusters

4400's premiere, "Past Is Prologue," airs on The CW on Oct. 25, 2021.

When influencer Gabby Petito went missing last month, activists asked why so much more attention was paid to the disappearance of a young white woman than the cases of missing people of color. That conflict is at the heart of 4400, The CW’s reboot of the 2004 USA Network series The 4400 about 4400 missing people who spontaneously reappear together. But the earnest effort to reframe the plot as a racial justice narrative gets off to a rough start thanks to clunky dialogue and an attempt to introduce far too many characters.

“Past Is Prologue” starts out pretty similarly to the original series, though the 4400 fall out of the sky in a Detroit park instead of all appearing in a ball of light in Seattle. In both cases they’re rounded up by Department of Homeland Security agents, who soon discover the returned can be traced to missing persons cases spanning decades and that they seemingly haven’t aged since they disappeared.

The CW’s version features a primarily Black cast, explicitly depicting all of the missing people as marginalized or undervalued in their times. But the show’s seemingly tiny budget gets in the way of its efforts to make the political points it’s striving for. The original series provided a commentary on the growing security state following the Sept. 11, 2001, terrorist attack, examining the American government’s fear of threats within its borders and the ways people might seek any chance of empowerment in a chaotic world. In its pilot, the 4400 are quickly processed and imprisoned, the characters largely introduced in institutional uniforms.

In the new version, they’re oddly stashed in a shabby hotel lobby and left in their own clothes without any significant medical examinations. This is despite the fact that it’s a post-COVID show, with their guards wearing masks seemingly just to make them more ominous while the protagonists can show their faces and wear their period-appropriate attire in a thin attempt to help us keep track of the huge ensemble. The series clearly wants to evoke the sentiments and imagery of the 2020 Black Lives Matter protests, but there are too few guards, and the ones there lack body armor or heavy weaponry. This might be required for some future plot point, but it feels sloppy and disingenuous. Also adding to the weakness of the setting is the fact that while it’s set in Detroit, it’s filmed in Chicago. The mismatch prevents a real establishment of place.

Even worse is the dialogue. Rather than take the time to introduce all the primary characters slowly, 4400’s writers have rushed to try to jam in as many as possible in the pilot. The result leaves them largely feeling like thin archetypes constantly shouting their backstories at anyone who will listen. They’re regularly making it clear what times they come from in the most unsubtle ways possible, such as noting the last thing they remember was watching Michael Jordan’s Chicago Bulls, or asking if ragtime is still a popular musical genre.

The most attention is given to Shanice (Brittany Adebumola), a lawyer who disappeared from 2005 on her first day back from maternity leave. Adebumola does a solid job of portraying believable panic and grief as she desperately tries to get back to the life she left behind, but it makes the placid attitudes of the other 4400 feel ludicrous by comparison. The only other detainee who even puts up much of a protest is party girl LaDonna (Khailah Johnson), and that just comes off as an awful stereotype as all she actually wants is her phone back.

While members of the 4400 might really want to share their stories with each other given the shocking situation they find themselves in, it’s really inexplicable for their caretakers, parole officers Jharrel Mateo (Joseph David-Jones) and Keisha (Ireon Roach), who dump their tragic motivations on each other the first time they meet for drinks. While the show is clearly trying to go for the same partners-with-conflicting-styles dynamic as the original’s Tom Baldwin (Joel Gretsch) and Diana Skouris (Jacqueline McKenzie), which itself was a riff on The X-Files’ Mulder and Scully, the intimacy between those agents was forged over the course of numerous intense episodes rather than a single conversation.

Like in the original, some of the returned discover they’ve come back with superpowers. Most notably, ‘50s civil rights activist and preacher’s wife Claudette (Jaye Ladymore) discovers she can regenerate from wounds. Watching her enlist others to help her experiment with her abilities is charming, but as LaDonna’s exasperated comments that she’s locked up with a member of the X-Men indicate, this isn’t exactly an original ability. The 4400 broke from traditional superhero archetypes with a focus on powers that were more likely to change the course of the entire world rather than being useful in a fight, setting that standard early with characters with prophetic visions and the ability to heal others. For all its political ambitions, it would be a shame if 4400 was lacking that same vision for its speculative fiction.

Spoilers follow for Y: The Last Man's ninth episode, "Peppers," which premieres on Monday, Oct. 25 on FX on Hulu.

Obviously, it's impossible now to watch Y: The Last Man without the context of cancellation creeping in, and knowing that this show will end (if it doesn't find a new home) after the next episode, so it's hard to now judge this series based on seeds it might be planting or the idea of payoffs coming far down the road. It can only be seen through a prism of "what's happening now" and graded based on how Season 1 is ultimately shaping up (to wrap up).

It's a shame we most likely won't see what happens with Nora and her cunning survivalist nature or fully dig into Agent 355's past more, or even watch Yorick, Allison, and 355 finally make it to San Francisco (if that's, in fact, where the saga was headed). But as it stands, "Peppers" was a solid penultimate season/series episode that actually placed two of the three major storylines on a very interesting collision course. Also, back in D.C., the balloon finally popped — not just with Regina Oliver's coup but with Beth's rebel forces storming the Capitol and basically throwing everything into some much needed chaos.

Like, did Beth and her seditious soldiers arrive just in time? Perhaps too conveniently? Sure. But their mayhem and amateur siege tactics were vastly more interesting than the bulk of the goings-on in this particular storyline. Also, the bullet to Regina's brain was a very welcome "Yes!" beat here, as this entire coup, along with Kimberly's machinations, have been a frustrating drag. It's not super engaging to have your heroes constantly hiding good decisions, and defending decent ideas, against idiots.

"Peppers" brought everything out in D.C. Now everyone knows Yorick is alive, and even Jennifer's inner circle, who were mad, knows they would have done the same thing and made the same shady choices. Regina's bid for the presidency is done, Jennifer knows about Christine's pregnancy, and it's very possible that the military is just out for itself (as its soldiers seemed to knowingly gun down one of Jennifer's loyalists as she was waving surrender hands).

Every bit of this oft-stodgy storyline is now ripped apart. Regina went nuts, because ignorant narcissists will always out themselves in a crisis, and everyone was able to more clearly see Jennifer as a stable, selfless leader. For all intents and purposes though, by the end of this episode, the government was gone. What does that mean for the world outside the gates? We're not sure. Well, a guess could be made that not much will change out there as it's already fairly lawless.

"Peppers" saw a couple factions go crazy with raids, as Roxanne's Daughters of the Amazon stormed a camp that was set up in remembrance of men. Despite the uneasy alliance formed in "Ready. Aim. Fire.," Roxanne and Nora are still butting heads. Nora is all about survival and actually existing in this new world while Roxanne just likes stupidly riling up her gals and being an action-oriented leader. Last week, this cult was harmless. Now they're starting to bug. Nora sees it, and she's trying to get Hero to open her eyes to it too.

But Nora, as much as she's against full-blown attacks on others, also isn't above manipulating Roxanne into taking out a nearby town for the sake of food and electricity. And this is where the finale will smash Hero into Yorick. It'll be interesting to watch Roxanne's riders clash with, you know, actual hardened criminals. Hopefully the right people will get the right wake up call before the show closes up shop.

Over in Yorick's storyline, where he blissfully danced and ate cake while remaining ignorant of the growing number of people who know he's alive, he, Allison, and 355 got a nice break from the turmoil. 355, on the mend, started to remember glimpses of her training, under the brutal tutelage of her mentor, while also maybe coming to terms with the fact that she likes-likes Yorick. Of course, that realization is being helped along by Sonia's basic and blatant interest in Yorick, but it's still something. Y: The Last Man isn't quite as strong when it focuses on all three ongoing arcs, as evident with last week's rather single-minded episode, but "Peppers" had enough upheaval in the right places to set us up for a fun finale.