Phones may not be as cheap as they once were, but you can still score a bargain by waiting for the right time. EOFY sales are one of those times, especially if you want a decent-priced Android handset. Case in point, Motorola currently has up to $600 off some of its best phones, including its flagship contender.
That $600 discount applies to the Motorola Edge 60 Pro, which costs a cool $599 at Australian retailers, including JB Hi-Fi. Moto’s top-end phone from last year sports one heck of a 6,000mAh battery. It impressed me during testing, as did the phone’s sharp cameras. At full price, the phone’s three years of OS updates were disappointing, but for $599, there’s little to complain about.
Also discounted during the EOFY sales is the Motorola Signature, which is $200 off. Down to $1,299 for the 256GB model, it goes toe-to-toe with Apple’s iPhone and Samsung’s Galaxy S26 devices, coming out on top in some areas. I loved the camera quality on this thing; you’d be hard-pressed to find anything better in this price bracket.
Budget-conscious shoppers can breathe easy, with several deals on the affordable G-series phones, too. Through Telstra, you can grab the Moto G56 for $199 or the Moto G67 for $349, with discounts of $200 and $150, respectively. The $300 discount on the Motorola Edge 70 is also pretty good, too, netting you a decent mid-range Android phone for $599.
Here’s the full range of discounted Motorola phones, currently on sale until 30 June:
Tax time is approaching once again, so prepare yourself for the annual deluge of EOFY sales. As per usual, it’s a pretty good time to upgrade any aging hardware or splurge on a new gadget while it’s on sale. This year’s EOFY deals include a bunch of discounts across phones, computers, and smart home gear — walk into any tech retailer, and you’ll see an endless sea of sale stickers.
Depending on what you’re in the market for, you might also be able to claim some purchases on tax. It all depends on what you use your tech for, of course, so keep your receipts and chat with an accountant to see what you can claim.
Even if you don’t grab anything work-related, the EOFY sales are still a good chance to nab a deal on some tech you were eyeing off anyway.
You’ve got about a week to browse the 2026 EOFY sales, so take a look at some of the tech that’s caught our eyes. Stay tuned as we update this article throughout the week with more deals.
EOFY 2026 deals: Phones, tablets, and mobile accessories
Grab a Motorola phone for up to $600 off
Motorola Signature Image: Motorola.
If you want a well-priced Android phone during the EOFY 2026 sales, Motorola has some good options. There’s $200 off the flagship Motorola Signature, and a whopping $600 off last year’s Edge 60 Pro model, while the mid-range Edge 70 is a healthy $300 off. Some phones, including the Moto G56 and Moto G67, are discounted when bought outright from Telstra during the telco’s EOFY sales, too.
Get up to $1,100 off Roborock robot and wet-dry vacuums
Qrevo Curv 2 Flow. Image: Roborock.
Need a bit of help keeping things clean? There’s no shortage of discounted robot vacuum cleaners during the 2026 EOFY sales, with Roborock one of the brands leading the charge. One of the top picks is the Qrevo Curv 2 Flow, a robot with a roller mop that outperforms many others when it comes to hard floor cleaning.
Save up to $500 on Tineco wet-dry vacuums and carpet cleaners
Tineco’s Floor One S9 Artist Steam cleaner is on sale during EOFY. Image: Tineco.
Among the many discounted Tineco carpet and wet-dry cleaners is a rare deal on the Floor One S9 Artist Steam. As its lengthy name suggests, this model uses high-temperature steam technology to clean up any nasties left on your floor. It’s one of our favourite wet-dry vacuums, and it also happens to be $400 off at the moment.
We’re big fans of Reolink’s smart home security range, which doesn’t lean heavily into subscriptions to power its best features. One of the top models is the Altas PT Ultra, a 4K security camera that supports 24/7 recording, supported by a solar panel, so you don’t need to worry about recharging batteries.
It’s hard to go past a solid mid-range laptop. Sure, it doesn’t have the bells and whistles of the laptop that costs the same as a car, or the allure of a very low-end price tag. But the mid-range is where the magic happens. It’s the Goldilocks of laptops, if you will.
The Gigabyte Gaming A16 CWH laptop is in the middle of the mid-tier gaming laptops. It’s not going to set your world on fire, and there have been some weird choices made that have held it back unnecessarily, but it’ll get the job done while making sure you have a good time.
The first thing that struck me was how light this laptop is. I’m used to 16-inch gaming laptops being something you could kill someone with, but this appears to be a laptop designed to be carried around without destroying your spine. At 2.2kg, it’s not nothing, but it’s also not as intense as my usual 2023 Lenovo Legion Pro 7i, and I appreciated that.
Image: Alice Clarke.
Set up was pretty much exactly what you’d expect. I got out the charger and set it up as I would any Windows laptop: logging into my accounts and then waiting 1,000 years for updates to complete. Overall, a very uneventful setup.
1x DC-in 1x RJ-45 1x HDMI 2.1 2x Type-A USB 3.2 Gen 1 1x Type-C USB 3.2 Gen 1 1x Type-A USB 2.0 Gen 1 (DisplayPort 1.4 and Power Delivery 3.0 support) 1 x 3.5mm audio jack
Wireless connectivity
Wi-Fi 6E Bluetooth 5.2
Battery
Li-ion 76Wh – estimated battery life 14 hours
There are a few interesting things to call out here. The first is the battery life of “up to” 14 hours. You will probably not actually ever get 14 hours, but you will get more hours than most gaming laptops, depending on what you’re doing. I’m quite impressed by the battery life. The second is that this is one of the cheapest laptops I could find in stores in Australia with an RTX 5070 laptop GPU.
What’s weird is the 85W for the total graphics power (TGP), because that is not enough to get the most out of an RTX 5070. Why put an RTX 5070 in there and then hobble it? It’s an odd choice and not one I would have made. It means that the graphics won’t perform as well as a 5070 in a different laptop with more TGP.
Benchmarks
Geekbench 6 single-core
Geekbench 6 multi-core
Geekbench 6 OpenCL score
3D Mark Steel Nomad
Gigabyte Gaming A16 CWH
2,357
10,532
110,320
2,552
These are quite respectable numbers for this price range. Looking at the Geekbench browser numbers, you could get a little extra power out of the AMD version of the A16 (which also sells for the same price) on single-core performance, but it’s not as powerful on multi-core scores.
Some similarly priced laptops in other markets can get you a little more power, due to a higher TGP. Still, it’s decent for a laptop you can get for less than $2,000.
Gaming
If you have bought a gaming laptop, chances are you want to play games. My experience was largely positive, with a few caveats.
On a less demanding game like Fortnite, I could put the game on max graphics settings and then play with a decent 120-144fps. Trying to push it beyond that frame rate was possible; I could hit 200fps on occasion, but it turned the graphics into a pixelated soup, which was deeply unpleasant. The FHD IPS screen isn’t capable of displaying much more than 144fps anyway, so there’s no point in pushing it.
I did get the occasional screen tear and some irritating lag.
But Forza Horizon 6, Ball X Pit and Fortnite looked excellent, even if there were times I was afraid the laptop would fly away with the fans spinning that fast and loud.
Unfortunately, gaming without headphones isn’t an option. The built-in speakers just do not go loud enough to counter the loud fans. The speakers also sounded bad, had terrible clarity, and the bass was so muddy that it was almost better to play on mute than with them on.
It’s a good IPS screen, though. Decent range of colours and excellent FHD definition. You wouldn’t want it for colour grading or graphic design or to use in bright sunlight (it doesn’t get very bright), but Gigabyte has made reasonable concessions to keep the cost lower.
Day-to-day use
This is a laptop that isn’t dripping in ‘I’m a gamer and don’t get hugged enough’ edgy aesthetics and RGB lighting. The keyboard lights up, because of course it does, but this is a laptop that wouldn’t look out of place in a boardroom or university. The lack of power to the graphics card is a crime for gaming, but not the end of the world for running architectural software or doing things with AI. It means that this is a laptop for people with well-rounded interests, which isn’t a bad thing.
Images: Alice Clarke.
The typing experience on it is excellent. I really like the feel of the keyboard. The trackpad is a little unwieldy, and I found myself wanting to use a separate mouse more than I usually do on a laptop, but it’s not a deal-breaker.
What might be a deal-breaker is only having one USB-C port on the laptop. Having three USB-A ports in 2026 is nice (even if one of them is only USB 2.0), but only one USB-C? In this port economy? That’s a really weird call.
Image: Alice Clarke.
Who is the Gigabyte Gaming A16 (CWH) laptop for?
This is a solid mid-range laptop for someone who wants to be able to play games when they choose, but doesn’t live and breathe games. It’s also a solid choice for people who do graphically intensive tasks and need the specs of a gaming laptop, without wanting the aesthetics of one.
Looking around Centre Com and JB Hi-Fi, I couldn’t find another gaming laptop with an RTX 5070 card in the same price bracket at all (aside from the AMD version of the same laptop). So, if you want a gaming laptop with a 5070 card, and don’t want to spend well over $2,500, this is the best (and only) option at the moment.
Gigabyte Gaming A16 (CWH)
The Gigabyte Gaming A16 (CWH) laptop is a solid mid-range laptop for people who want to be able to play games, but also still want to be able to take the laptop to school or work.
Earlier in the year, HP launched its latest range of PCs built with the ‘Panther Lake’ Intel Core Ultra Series 3 chipsets. Like every new laptop generation, the goal is to squeeze more performance while using even less power. When I went hands-on with the new two-in-one HP EliteBook X Flip G2i recently, I saw a laptop that’s ready-made for blitzing through your to-do list.
On the inside was an Intel Core Ultra X7 Series 3 processor, one of the most powerful laptop chips on the market. It’s speedy, but the biggest benefit for most is all-day battery life, which is something Intel has made big gains in over the past few years.
This particular style of EliteBook lets you flip the screen all the way over, giving you a fully fledged tablet to work on with an included stylus. It doesn’t hurt that the screen is a 3K OLED display, either! You can see the laptop in action via the latest GadgetGuy YouTube video.
As Australia competes for glory at the FIFA World Cup, improving your patchy digital TV reception might offer the best way to watch the Socceroos battle through the group stage.
Many Australian lounge rooms have understandably abandoned free-to-air broadcasts in favour of streaming services. Streaming is superior in many ways, yet when it comes to live sport, Australia’s online simulcasts typically don’t quite match the picture quality of high-def digital TV broadcasts.
Of course, it might be a different story if Australians could watch the World Cup in Ultra HD 4K, like other parts of the world.
Once again, we’re stuck with Full HD 1080i/p, as only Foxtel and Kayo have embraced 4K sport locally. Meanwhile, Australia’s free-to-air broadcasters are still only dabbling in the new DVB-T2 standard required for 4K broadcasts, and may never make the leap to 4K now that fewer people rely on an aerial to watch television.
Where to watch the World Cup in Australia
This year, SBS On Demand is streaming every World Cup match in Full HD 1080p25. That’s great for sports fans, but it’s not necessarily an improvement on the Full HD 1080i50 free-to-air digital TV broadcasts.
SBS On Demand lets you watch the World Cup on computers, smartphones and tablets, as well as a range of home entertainment gear. Image: SBS.
To get technical, the 1080i50 broadcast signal is 1920×1080-pixel resolution, “interlaced” at 50 frames per second. Interlaced means the screen only displays every second horizontal line, rapidly switching between the odd and even-numbered lines to build the entire image.
Meanwhile, the 1080p25 streaming is 1920×1080 “progressive”, displaying every line at once to create a smoother picture, but only at 25 frames per second.
In theory, 1080p streaming should look better but, in reality, the 1080i broadcast signal is a little more crisp and detailed when watching fast-moving sport. It’s not just about interlaced versus progressive, it’s also about how much they compress the streaming feed.
To be fair, your experience might vary depending on how you access SBS On Demand. The app is available for most smart TVs and built into some set-top boxes like Fetch TV Mighty and Fetch TV Mini, but the picture quality can vary between devices.
The Fetch TV Mighty is one of Australia’s best devices for combining broadcast and streaming channels. Image: Fetch.
If you’re comparing streaming with broadcast TV, make sure you’re watching SBS HD free-to-air broadcasts on channel 30, not standard definition SBS on channel 3, which looks very shabby in comparison.
The larger your television, the more noticeable the difference – especially during wide shots of the field. Watching SBS On Demand streaming on my Fetch TV Mighty, the picture is a tad more murky and the motion not quite as smooth as the SBS HD broadcast. When the camera pans quickly to follow the ball down the ground, everything in the background becomes a bit blurry.
Improving your SBS TV broadcast signal
Of course, all of this is on the assumption that you can actually pick up a decent free-to-air SBS signal at your home.
Back in the analogue days, poor reception meant a fuzzy picture. In the digital TV age, it means that the picture freezes to the point of being unwatchable. At this point, streaming simulcasts are a godsend.
Like many people, my household doesn’t watch a lot of free-to-air television these days. Even so, the aerial on the roof still gets a good workout during SBS’ coverage of the World Cup and Tour de France, despite the challenges of trying to get decent free-to-air reception living at the bottom of a valley.
As a last resort, you might get a new aerial installed, but there are plenty of simple things you can do to improve your signal quality before you call in a professional.
Most digital TV equipment lets you monitor the real-time signal strength and quality for individual channels. This offers a handy way to see if your efforts are making a difference.
The Fetch TV Mighty displays the SBS signal strength and quality. Image: Adam Turner.
Start by minimising the number of aerial cable splitters between your television and the aerial on the roof. This might include bypassing unused aerial wall sockets in some rooms, to ensure those you do use get a stronger signal.
The first time I crawled into my roof, I found a four-way splitter running aerial cables all over the house. Replacing it with a two-way splitter, only connecting the lounge room and master bedroom wall sockets, made a big difference.
If you’re using a splitter in the lounge room to connect your aerial to both your television and your set-top box, try removing the splitter and just running a cable into the set-top box. If you need to rely on splitters, try replacing passive splitters with powered splitters.
You also might benefit from a signal booster, but do everything you can to improve your signal quality first, otherwise you’re just boosting a bad signal.
Masthead amplifiers live in the roof, connected to the aerial, while distribution amplifiers live in the lounge room between the wall socket and the television. Masthead amplifiers tend to be more effective because they boost the signal before it weakens on the journey down to your lounge room.
If you do end up installing an amplifier, make sure it lets you adjust the gain because a signal that’s too strong can also cause the picture to break up. Ensure your amplifier includes built-in 4G/5G filters to block interference from mobile phone towers.
A powered Kingray VHF/UHF Masthead Amplifier with 4G Filters is one way to improve your digital TV reception. Image: Kingray.
Getting things just right takes time. One night, watching the Tour de France, I spent half an hour in the roof painstakingly adjusting the gain on our new masthead amplifier. I had my wife on speakerphone, who was downstairs in the lounge room, constantly rating the picture quality from 1 to 5 so we could find the sweet spot.
Tackling local interference
With so much tech in the house, my lounge room has always been a hotbed of interference. If this sounds like your home, the first step is to move as much electrical equipment as possible away from your television, set-top box, aerial cables and wall socket – especially wireless equipment like Wi-Fi base stations and cordless phones.
Make sure the “flylead” aerial cables running from your television to the wall socket aren’t sitting directly alongside power cables. If there’s an electrical socket on the wall alongside the aerial socket, try not to use it.
Next, try upgrading from cheap flyleads to RG6 quad-shield cables, preferably with screw-in F-connectors. This helps block out electrical interference for nearby devices. You might need to plug your television and other AV gear into an isolator power board, which filters out electrical interference from devices such as your fridge or air conditioner.
Call in the experts for clear World Cup TV coverage
While each of these changes helped, getting a decent SBS signal at the bottom of a valley was always going to be tough. A few years ago, with the Tour de France fast approaching, I decided it was time to call in a specialist.
Enter Francis, who became my go-to antenna guy. The fact we’re on a first-name basis tells you a lot about the struggles we’ve been through over the years.
After running a few tests, Francis and I discovered that the dodgy aerial wall socket behind the television was a big part of the problem. The signal strength and quality improved significantly after he removed the wall plate, trimmed the cable and wired up a new socket.
We also decided to switch from a VHF aerial pointed at Mount Dandenong to a UHF aerial pointed along the valley to Melbourne’s CBD. This meant re-tuning my Fetch TV Mighty to pick up the UHF channels. At the same time, Francis replaced the cheap aerial cabling in the roof with decent RG6 quad-core shielded cabling.
All of this made a big difference but, a few years later, I called upon Francis again to help improve things before the Tour de France. This time, we decided to run a quad-shield cable up through the walls all the way from the lounge room to the aerial.
The Fetch TV Mighty reveals the frequency of all your broadcast channels. Image: Adam Turner.
Getting the Fetch TV Mighty to rescan for the UHF channels coming from the city, we discovered that it insisted on sticking with SBS’ weaker VHF signal from Dandenong – explaining why my SBS reception was still so much worse than the other channels.
We knew the Fetch box was looking at the wrong SBS signal because it was listed as 184 MHz, while all the other UHF channels were in the 600 MHz range (you can check the frequencies in your area at ozdigitaltv.com, plus myswitch.digitalready.gov.au is a useful resource).
There’s no simple way to force the Fetch TV Might to favour one signal over another, so Francis used brute force. He unplugged the aerial, scanned for channels and waited until it was about a quarter of the way through before reconnecting the aerial.
This meant it missed all the 100 MHz VHF broadcasts coming from Dandenong, but still picked up Channel 31 at 557 MHz before discovering all the 600 MHz UHF broadcasts from the city.
It’s been a long journey and, even now, some days my SBS signal is better than others. When it’s prepared to cooperate, SBS HD still offers the best picture quality when it comes to watching the World Cup.
In the strongest indication yet that Grand Theft Auto VI (commonly known as GTA 6) will stick to its 19 November launch date, Rockstar Games has confirmed that pre-orders will officially begin next week on 25 June.
An announcement of pre-order availability generally isn’t all that newsworthy — why does it matter that people can shell out their hard-earned for a game that isn’t out yet? Some are excited about the cover art reveal, showing a range of shady characters (I wouldn’t trust that gator, if I were you). However, there are two big factors at play here that make this a unique case.
Several months later, Rockstar followed up with another delay, pushing GTA 6′s release date to 19 November. Since then, it’s been relatively quiet as far as GTA news is concerned (beyond regular updates to the wildly popular GTA Online multiplayer game).
In isolation, anything GTA 6-related is big news, purely because its predecessor, GTA V, has sold nearly 230 million copies since its initial release in 2013. It’s one of the biggest-selling video games of all time, with GTA Online continuing to be one of publisher Take-Two Interactive’s biggest earners.
GTA 6 price is a big unknown
The other discussion-worthy aspect surrounding GTA 6‘s newly confirmed 25 June pre-order date is its price, which Rockstar hasn’t yet publicly confirmed. Modern blockbuster games cost hundreds of millions of dollars to make, mainly due to longer development times and the cost of paying larger teams. Despite increasing development budgets, the price of video games has largely remained static.
This has led to speculation that GTA 6 could cost more than most games at launch. Overseas, major games generally launch between US$60 and US$70, but some have predicted a US$80 price tag or higher for the new Grand Theft Auto.
Closer to home, Nintendo established a higher $119.95 price point for its premium Switch 2 games, including Mario Kart World. Full-priced first-party games on PlayStation 5, like God of War Ragnarok, cost $124.95.
Most games are sold cheaper than RRP at Australian retailers, with JB Hi-Fi and Big W often pricing new releases under $100 to get people through the door. Regardless, higher game prices aren’t anything new for Australian consumers.
All of which leaves a big question mark surrounding GTA 6: how much will Australians be paying for 2026’s most-anticipated release when pre-orders open next week?
Cannons blasting, the clang of steel-on-steel, and the gentle caress of water lapping against a boat: there’s a lot that goes into producing the audio of a blockbuster video game. Done well, the mix of music and sound effects harmonises, elevating the on-screen action. But there’s a lot more to the craft than trying to make the most realistic-sounding game, as explained by Erik-Jon Evangelista, Audio Director on Assassin’s Creed Black Flag Resynced.
“True realism is not necessarily what you might want to have in a game to provide gameplay feedback,” he said.
Despite significant strides in visual and audio fidelity, making a game as realistic as possible doesn’t necessarily make it good to play. It echoes a similar sentiment expressed by the team behind Kingdom Come: Deliverance 2, where the developers deliberately deviated from real-world sword-fighting, simply because it didn’t translate well to the interactive medium.
From a sound design perspective, Evangelista instead mixed the Black Flag remake’s audio for player clarity. Citing the chaotic nature of naval combat, it was more important that players could hear what was most important to the gameplay, rather than hearing every sound at full volume, all the time.
Image: Ubisoft.
For example, the audio team at Ubisoft Singapore made it so that additional sound effects, like wind and water, are lowered during naval combat so the player can hear audio cues more clearly. Evangelista also described creating “frequency pockets”, where impact sounds sit in a higher register, while cannon fire occupies the lower end.
“You feel the power and the oomph and the weight of the weapons when you fire them,” he said. “But the impacts are more just to tell you, ‘Hey, you’re getting hit’, rather than to completely obliterate your ears.”
How do you recreate the sounds of 17th-century guns?
Muskets, cannons, and cutlasses aren’t all that common today, so producing the audio of Black Flag Resynced required a fair bit of creativity. Thinking outside the box is a skill Evangelista has developed since working on the original Black Flag as one of his first major projects over a decade ago.
“I was still pretty green at that time, not necessarily thinking from a creative aspect, more like I’m just creating the sounds for this specific feature that I’m working on,” he said.
A lot of the recordings remain from the original 2013 game that Evangelista was part of, but Resynced includes plenty of modern touches. This includes sounds from more recent Assassin’s Creed games, in addition to entirely new recordings.
You might think that replicating the ear-splitting boom of a cannon might require access to a real-world cannon. Believe it or not, the team recorded real cannon fire in the past, only to scrap it later.
With a bit of editing, modern weapons can evoke the sound of 17th-century gunfire. Image: Ubisoft.
“The more cannons that we record, the more we realise we don’t really want to use most of it,” Evangelista said. “Or we end up using less of it or less bass frequencies because it just takes up way too much sonic space.”
To solve this problem, the Ubisoft Singapore audio team went to a shooting range in the Philippines to get the audio of different pistols and rifles. By recording the weapons with a Sanken CO-100K microphone in a 192KHz format, they could pitch the gunfire down without losing quality to get a cannon-like effect that didn’t completely overwhelm the audio mix.
Turning Edward Kenway into a pirate John Wick
One of the high-priority items on Evangelista’s exhaustive “laundry list” of improvements he wanted to make on Black Flag Resynced was more music variety. He stressed that the original compositions by Bryan Tyler were great and not to be tampered with, but the way the music looped during combat could sound repetitive.
Taking inspiration from the John Wick movies, where the music blurs the line between diegetic and non-diegetic during tightly choreographed fight scenes, Evangelista wanted more flourishes to Black Flag protagonist Edward Kenway’s battle moves.
Erik-Jon Evangelista worked on the original Black Flag. More than a decade later, he’s leading the remake’s audio team. Image: Ubisoft.
“We wanted to do something that’s very John Wick-like,” he said. “Because of course John Wick didn’t come out back then, and now that’s your action movie benchmark standard.”
In the original Black Flag, the combat music looped without much variety. Now, in Resynced, the music responds to each enemy takedown, adding more weight and tension to encounters. Stephen Lukach composed these stingers that add to Tyler’s music — replacing the latter’s work was entirely out of the question.
Black Flag Resynced combines new and old audio tech
More technology than ever is available to modern game developers. While technological limitations, whether they be graphical or audio, often led to innovative tricks to achieve the best result possible, newer tools and formats make audio designers feel like kids in a candy store.
One of the most significant audio developments in recent years is the availability of Dolby Atmos. Known as an object-based audio format, Dolby Atmos lets producers and audio designers place sound at specific coordinates, rather than being limited to specific channels or the binary choice of choosing a specific speaker to play through. As such, with a compatible sound system, Dolby Atmos media produces more precise directionality, including height.
Last year, Ubisoft Singapore opened Sound Studio Blue, regarded as the first Dolby Atmos gaming studio in Southeast Asia. It’s where Evangelista and the team worked on Black Flag Resynced’s audio mix to ensure that every sound effect was placed precisely.
Image: Erik-Jon Evangelista via LinkedIn.
But with so many devices, including phones, brandishing a Dolby Atmos label, it’s easy to think of the technology as a marketing tactic bandied about carelessly. Evangelista was adamant that Resynced used the audio format to its full potential, not just for the sake of using it.
“[Dolby Atmos is] not just a gimmick,” he said. “We don’t just want to play it like a Beatles record and have the drums all on the left. We want to be able to make sure that we creatively use it well.”
When I visited Ubisoft Singapore last month and stepped into Sound Studio Blue, surrounded by soundproofed walls and meticulously placed speakers, the effect was immediately evident. During underwater gameplay sections, the exact separation of where the audio came from was remarkable. It felt like I was enveloped in a sphere of liquid, hearing faint sounds from the surface while the sea surrounded Kenway.
You’ll want to wear a good set of headphones during these sections. Image: Ubisoft.
As distant cannon fire approached, I could pinpoint exactly where it was coming from, letting me either prepare evasive manoeuvres, or panic. More often than not, it was the latter.
If you’re more composed than I, Black Flag Resynced’s intricate sound design makes quite the difference.
Chris Button attended a preview event in May in Singapore as a guest of Ubisoft.
