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Netflix's New Dinosaur Documentary Trailer Reveals Morgan Freeman as Narrator and a Release Date

5 février 2026 à 16:45

Netflix is taking us back, not a few decades but millions of years to the era of dinosaurs. The streamer has revealed its official trailer, key art, and release date for the upcoming documentary series The Dinosaurs.

The poster features a monstrously huge dino mouth about to swallow a shark whole, and the trailer gives viewers a glimpse of exactly that in action, while narrator Morgan Freeman tells us: “This is the story of the dinosaurs.” Intense stuff! The sneak peek also gives viewers a look at many different types of animals sharing the world with dinosaurs, as well as several different types of dinos themselves.

Take an epic journey into a lost world in THE DINOSAURS, a new documentary series narrated by Morgan Freeman, premiering March 6.

From executive producer Steven Spielberg, Amblin Entertainment, and the award-winning team behind Life on Our Planet. pic.twitter.com/Dv5LC07n1F

— Netflix (@netflix) February 5, 2026

The series, which will consist of four hour-long episodes, is narrated by none other than one of the smoothest voices in Hollywood: Morgan Freeman. Plus, the legendary Steven Spielberg is producing the series, so there’s already two great reasons to watch.

Alongside the other details, Netflix also revealed the show’s logline: “Welcome to The Dinosaurs – an epic journey into a lost world. From executive producer Steven Spielberg, Amblin Documentaries, and the award‑winning team behind Life on Our Planet, this groundbreaking documentary series follows the rise and fall of the dinosaurs across hundreds of millions of years.”

Dan Tapster, Keith Scholey, and Alastair Fothergill will serve as co-showrunners, with Nick Shoolingin-Jordan directing the series and Lorne Balfe serving as composer. Industrial Light & Magic is also behind the visual effects and animation in the series.

The Dinosaurs is set to premiere on Netflix on March 6.

Lex Briscuso is a film and television critic and a freelance entertainment writer for IGN. You can follow her on Twitter at @nikonamerica.

Tokyo Scramble is a Nintendo Switch 2 Exclusive Featuring Hairy Dinosaurs Under the Japanese Subway

5 février 2026 à 16:29

Today's Nintendo Switch Partner Direct has revealed a new exclusive for Switch 2 — bizarre-looking dinosaur survival game Tokyo Scramble.

While a trailer shown during the Partner Direct focused on tension, and the fact that protagonist Anne has to rely on setting traps for survival, a subsequent video posted by Binary Haze takes a more light-hearted approach.

In a montage of scenes we see a dinosaur (officially here called a "Zino") getting stuck going the wrong way up an escalator, as Anne makes a quip about its daily steps. Further clips show dinosaurs getting pelted with beach balls, repeatedly flattened and set on fire by various objects, electrocuted by a tripwire, rammed by a minecart and yanked off by a robot arm. Honestly, it's enough to make you feel sorry for them.

As well as hairy velociraptors, other Zino species include one that looks like a vampire bat, and another hairy creature that looks a cross between a dragon and that thing from The Neverending Story.

"A life-or-death struggle begins deep below Tokyo, where clear thinking and split-second decisions could make all the difference," reads an official blurb. "You play as Anne, a survivor who finds herself in a network of subterranean caverns overrun by Zino – mysterious creatures that resemble dinosaurs. Use stealth, strategy, quick thinking and unwavering determination to escape the prehistoric world alive."

Perhaps the most interesting thing about the game is your ability to share control with up to three other players across Switch and Switch 2 consoles via GameShare. Here, control of Anne's movement, actions, abilities and even the game's camera can be portioned out to a group.

Tokyo Scramble launches exclusively for Switch 2 on February 11 via the Nintendo eShop. For much more, here's everything announced in today's Nintendo Partner Direct.

Tom Phillips is IGN's News Editor. You can reach Tom at tom_phillips@ign.com or find him on Bluesky @tomphillipseg.bsky.social

A Nightmare on Elm Street's 7-Film 4K Collection Has Hit a New All-Time Low Price at Amazon

5 février 2026 à 16:16

If you're a horror fan who's been keeping an eye on the A Nightmare on Elm Street seven-film 4K collection since its release, we have exciting news: it's dropped to a brand new all-time low price at Amazon. It's currently on sale for $67.49 at the retailer, which is 36% off its list price of $104.98. This means you get all seven movies on 4K for just under $70, or about $10 a movie, which is a pretty sweet deal.

Considering this is the lowest price we've seen so far on this collection, now is an excellent time to grab it for your library if you've had your eye on it.

A Nightmare on Elm Street: 7-Film Collection on 4K for $67.49

This looks like a great 4K collection for Freddy fans, too. Alongside seven movies on 4K (which you can check out below), it also comes with theatrical and uncut versions of the first A Nightmare on Elm Street and A Nightmare on Elm Street 5, along with 3D glasses for you to wear during part of Freddy's Dead: The Final Nightmare.

All Movies in A Nightmare on Elm Street’s 4K Collection

Here's the breakdown of every A Nightmare on Elm Street movie included in the collection:

  • A Nightmare on Elm Street
  • A Nightmare on Elm Street 2: Freddy's Revenge
  • A Nightmare on Elm Street 3: Dream Warriors
  • A Nightmare on Elm Street 4: The Dream Master
  • A Nightmare on Elm Street 5: The Dream Child
  • Freddy's Dead: The Final Nightmare
  • Wes Craven's New Nightmare

Outside of 4K deals like this collection, there are plenty of newer 4K and Blu-ray releases coming out soon that are currently available to preorder. If you're curious what's on the horizon, take a look at our rundown of upcoming 4Ks and Blu-rays. This can point you towards what's available at the moment so you can start preordering your favorites to have for your library this year.

Hannah Hoolihan is a freelancer who writes with the guides and commerce teams here at IGN.

Paranormasight Is Getting a Surprise Sequel, and It's Out in Two Weeks

5 février 2026 à 16:15

Fans of 2023's Paranormasight: The Seven Mysteries of Honjo, got a delightful surprise this morning during the Nintendo Partner Direct, with the reveal of a surprise sequel coming to Nintendo Switch. It's called Paranormasight: The Mermaid's Curse, and it's coming out in just two weeks, on February 19.

The Mermaid's Curse follows a young pearl diver named Yuza who one day, while working, sees a ghostly version of himself. This sets off a chain of other strange incidents: corpses washing up, a girl with no memories, and townsfolks with ulterior motives. As Yuza, you'll question people around the island to try and find out what's going on, while also diving into the waters of the bay for clues. All of it has ties somehow to a centuries-old legend of a mermaid, and true to form, it all seems kind of creepy!

The original Paranormasight debuted in 2023 on Switch, PC, and mobile. While thematically similar, it told a different mystery story with different characters, and it's unclear if there will be narrative times between The Seven Mysteries of Honjo and The Mermaid's Curse. The first Paranormasight was well-received, and currently stands at an 85 critic score and 8.9 user score on Metacritic. We're still waiting to hear if the new game will come to other platforms, but given the mobile and PC releases of The Seven Mysteries of Honjo, it seems like a reasonable expectation.

You can catch up on everything announced at today's Nintendo Direct right here.

Rebekah Valentine is a senior reporter for IGN. Got a story tip? Send it to rvalentine@ign.com.

Will Fallout Season 3 Resurrect a Dead Fallout Game?

5 février 2026 à 16:15

As Fallout Season 2 draws to a close, all signs point towards Colorado as the setting for the next adventure. A postcard left in an abandoned cryopod all but confirms that The Ghoul’s wife and daughter are waiting for him there, and a shot of the Enclave’s secret headquarters suggests that the show’s newly-revealed big bad is operating out of the Rocky Mountains.

For fans, this is an interesting new direction. After the first season explored California, the setting for the original two Fallout games, and the second expanded into the Mojave wasteland of Fallout: New Vegas, it seemed logical that the story would continue to visit familiar locations. Washington, D.C. or Boston, the settings of Fallout 3 and 4, respectively, seemed sensible bets. But certainly not Colorado, which despite geographically making sense for the next steps beyond the New Vegas strip, is barely a footnote in the RPG’s extensive lore.

Dive deeper into the Fallout archives, though, and Colorado becomes significantly more important. The state was planned to be the setting for what would have been Interplay and Black Isle Studios’ third Fallout game, codenamed “Van Buren”, which was cancelled back in 2003. Since then, dozens of design documents have fallen into public hands, revealing the intended storyline for what could have been the original Fallout 3. And as the show signals its intent to travel to the Centennial State, it’s impossible not to wonder if Season 3 will be at least a little inspired by the Fallout that never was.

The Second Apocalypse

Akin to Hank MacLean’s attempts to bring “civilization” to the wasteland, Van Buren would have told the story of a man who looked out at what’s left of humanity and yearned for a better world. That man, Doctor Presper, saw hope in the fires of nuclear armageddon (yes, another one) and planned to take command of an orbital missile system in an effort to cleanse the planet’s surface. He and his followers would sit safe in Colorado’s Boulder Dome, a colossal, bomb-proof research facility, and later emerge into a brighter tomorrow. Sounds a little like Vault-Tec’s plans for the original apocalypse, right? Which, as we’ve learned this season, was actually orchestrated by the Enclave.

It seems unlikely that Van Buren’s exact plot could become the story of Fallout Season 3, though. Introducing Presper’s cohort of mad scientists and their mission to preserve their vision of the human “master race” seems redundant when the Enclave, a faction of mad fascist scientists, are already a key part of the show’s story. But the overlap between these two groups, in conjunction with the Colorado setting, points to exactly where the two projects could merge: What if Presper, or a Presper-like figure, is in charge of the Enclave’s activities in the American Southwest? And now, 200 years after the first bombings, the faction intends to do it all over again in an effort to achieve the exact results it hoped for the first time around?

There’s another interesting overlap: In Van Buren, the orbital missile system is locked behind a series of safeguards. The satellite continually assesses the planet’s population and tracks the spread of “New Plague”, a highly contagious disease that had previously required a complete quarantine of the US to control. Should the number of New Plague-infected people increase past a certain threshold, the satellite will release its missile launch codes, allowing its controller to end the epidemic in nuclear fire. Presper’s plan was to spread the plague across the wasteland, which in turn would grant him control of the missiles.

The New Plague is an interesting piece of Fallout lore because, during the 2050s, the race to develop the cure led to the development of the Forced Evolutionary Virus. The FEV is already one of the show’s mystery plot points, somehow linked to the Vault 31, 32, and 33 experiment. And, as we can infer from Steph’s triggering of “Phase 2” in the Season 2 finale, the experiment is likely controlled by the Enclave. The question, then, is why does the Enclave want a bunch of FEV-infected vault dwellers? Well, perhaps in an adaptation of Van Buren’s story, they’re the key to wiping the surface clean and allowing the Enclave complete control of the wasteland.

New Van Buren

The introduction of Colorado, a virus, and a clan of genocidal scientists obsessed with human purity by no means guarantees that Fallout Season 3 will adapt the ideas created for Van Buren. But I present this theory not based on wild speculation, but Fallout’s own history. While the Fallout 3 that was eventually released to the world in 2008 shared nothing in common with Black Isle Studio’s blueprint, Fallout: New Vegas did. Van Buren was set to feature multiple competing factions, difficult choices that shape the wasteland, and deep character-building systems – the very structure that New Vegas was built atop. But it goes deeper: Caesar's Legion, the violent army of Roman cosplayers, was originally created for Van Buren, as was a battle for control of the Hoover Dam, the climax of New Vegas’ campaign.

The resurrection of those cancelled ideas was in no small part thanks to the fact that several of Van Buren’s designers became the architects of Fallout: New Vegas at Obsidian Entertainment. The show, however, has no such connection to the series’ lost past. And yet, despite being executive-produced by Bethesda’s Todd Howard, the show is keen to continually explore beyond the boundaries of his studio’s tenure as Fallout’s owner. Shady Sands, the NCR town so key to Maximus’ and Lucy’s stories, was only ever in the original Interplay games. Vault 33’s failing water chip storyline is a direct nod to the plot of the first Fallout. And the depiction of the Brotherhood of Steel veers closer to that shown in the early games than it does Bethesda’s interpretation. All that considered, it wouldn’t be that surprising if showrunners Graham Wagner and Geneva Robertson-Dworet decide to dive into the Van Buren files and adapt its ideas, turning Fallout Season 3 into a homage to the Fallout game we never got.

Dead Tactics

When talking about Colorado, though, we can’t ignore Fallout Tactics. While not exactly “dead” in the way Van Buren is, Fallout Tactics is something of a dead end; a spin-off created in 2001 that failed to start a sub-franchise for the series. It tells the story of a Brotherhood of Steel squadron on a mission to find Vault 0, a pre-war command bunker buried deep below the Rocky Mountains in El Paso County, Colorado. Their journey towards the vault sees them battle an army of robots, which are revealed to be controlled by The Calculator; a fusion of human brain and digital computer that resides at the heart of Vault 0.

Considering Season 2’s post-credits scene sees the Brotherhood’s Elder Quintus proclaim himself “The Destroyer” while unfolding the blueprints for a giant nuclear robot, it’s easy to see how Season 3 could draw inspiration from Fallout Tactics. Quintus could dispatch his knights to Colorado in search of a vault that contains the parts required to build Liberty Prime. The Calculator would be long gone – Fallout Tactics takes place in 2197, a century before the show – but the valuable relics that Quintus requires could well lie in wait for him.

While Fallout Tactics’ position in the lore is a little murky, we do know that Vault 0 was designed as the “nucleus” of Vault-Tec’s bunker system. Well, that was its final form: during the development of the original Fallout RPGs, series creators Tim Cain and Leonard Boyarsky had the idea that it could have been controlled by the Enclave, collecting data from every other vault to aid their grand plan. And who, according to the show, is the shadowy puppet master behind Vault-Tec? The Enclave. Season 3 has the opportunity to weld these ideas together. And if the Fallout games are anything to go by, the Brotherhood of Steel and Enclave are destined to butt heads eventually. Will Vault 0 be where Quintus proves his destroyer credentials by eradicating the Enclave?

This is, of course, all just theorycrafting. An exploration of the lesser-known corners of the Fallout universe on the off chance that their stories become relevant, rather than a genuine prediction of the show’s future. But writers – especially those handling pre-existing universes – don't dive in blind. They’ll know about Fallout Tactics. They’ll know about Van Buren. And so, even if Fallout Season 3’s trip to Colorado is entirely composed of original material, I’m willing to bet that there will be references to Fallout’s dead past littered among the Rockies.

Matt Purslow is IGN's Executive Editor of Features.

Sony Announces Horizon Hunters Gathering, Guerrilla's New Co-Op Action Game for PS5 and PC With a Completely Different Art Style

5 février 2026 à 16:11

Sony has finally announced Guerrilla’s Horizon live service multiplayer game, Horizon Hunters Gathering. It’s due out for PlayStation 5 and PC.

A “small-scale” closed playtest is due at the end of February, which you can sign up for via the PlayStation Beta Program. Expect crossplay and cross-progression. There's no release date yet, nor is there word on whether it's free-to-play or a premium game. The debut trailer, which includes gameplay, is below.

As you can see from the trailer and screenshots, Horizon Hunters Gathering has a cartooney art style, which is in contrast to the photrealistic visuals of the mainline Horizon series. Clearly, Sony and Guerrilla are trying to create a more lighthearted experience with Hunters Gathering, with the Zero Dawn and Forbidden West more serious offerings. There are strong Monster Hunter vibes, too.

In a post on the PlayStation Blog, game director Arjan Bak said that in Horizon Hunters Gathering, you fight deadly machines in tactical three-player co-op action and adapt your Hunter for intense missions.

"Combat is tactical, reactive, and deeply skill-based, building on the tactical precision of the Horizon games while embracing the dynamics of team play," Bak said. "The foundation of Horizon Hunters Gathering centers around challenging and replayable hunts."

Bak confirmed two game modes: Machine Incursion, which is described as "a high-intensity mission" where waves of machines pour out from underground gateways, led by a "formidable boss"; and Cauldron Descent, a longer, multi-stage trial in which "ever-changing rooms push Hunters to their limits, from brutal machine encounters to hidden doors that promise power and reward for teams prepared to open them." Both modes wil be available in the upcoming closed playtest.

There's a roster of Hunters to play as, each with distinct melee or ranged playstyles and weapons. Bak said there's also a rogue-lite perk system to craft the build you want. Story wise, there's a narrative campaign "which will introduce new mysteries, characters, and threats, but we’re keeping it under wraps for now," Bak said. "What we can say is that Hunters Gathering is fully canon and its story doesn’t stop at launch!"

The social hub is the name of the game: Hunters Gathering. It's "a vibrant social hub where players can connect, prepare, and celebrate victories together. Here, you can customize your Hunters, visit vendors, upgrade gear, and team up for your next adventure."

Horizon Hunters Gathering isn't the only multiplayer game set in the Horizon universe. Bizarrely, NCSoft and Sony are working on Horizon Steel Frontiers, a massively multiplayer online role-playing game designed for mobile devices, but also playable on PC. NCSoft is said to be working closely with Guerrilla to craft the world, but this is very much an NCSoft-developed game. Horizon 3, meanwhile, was in late 2024 described as being "a ways off." Sony is said to be aiming to start filming its live-action Horizon Zero Dawn movie this year, with a release at some point in 2027.

Wesley is Director, News at IGN. Find him on Twitter at @wyp100. You can reach Wesley at wesley_yinpoole@ign.com or confidentially at wyp100@proton.me.

Resident Evil Requiem Second-Take Preview: RE9 is the Stealth-Action Game I’ve Sorely Needed

5 février 2026 à 16:00

Listen, I’m always going to have a Leon-sized hole that needs filling and from playing his portions in the latest Resident Evil 9 Requiem demo, I’m pretty sure I’ll be taken care of (for the year, at least). The roundhouse kicks, the corny one liners, and the brutal blood-splattering finishers – things I loved from the recent Resident Evil 4 remake round out what’s otherwise a terrifying survival horror experience. And the crux of that survival horror is stealth and having the proper mechanics in place to make that tension tangible. So, not only does Grace’s side of Requiem evoke a petrifying sense of dread atop the classic puzzle-solving of the series, it’s also a fantastic expression of the kind of stealth-action gameplay I’ve been wanting for a while.

Our previous Resident Evil 9 Requiem preview by my colleague Dale Driver touched on plenty of sentiments I share; most notable for me being the refreshing balance between the drastically different playstyles of Grace and Leon as dual protagonists. Grace being timid and having to rely on moving slowly and carefully, contrasting with Leon being the action hero who blasts through every zombie. But it’s the Grace sections where Capcom is doing something really special with stealth gameplay that feels natural and forward-thinking.

Capcom has made a big deal out of zombie behavior where their presumed personalities as humans feed into how they move and react in the game world as zombies. One example being the zombie fixated on light switches in a dark hallway you have to pass through as Grace – instead of taking him head-on with your limited resources, you can slip by and hit a light switch down the hall to distract him to clear the path to the other end. While this isn’t a complicated situation on its own, it’s a microcosm of how Requiem is challenging you as Grace, where observation and environment are just as important as staying out of sight. The game doesn’t outright tell you this, so thinking outside the box can lead to more elegant solutions.

What’s more frightening is the butcher who roams the kitchen...

This notion of watching out for zombie behavior is flipped around at times, too. Like when walking through the dining room where zombies are just feasting on the dead bodies on the table, not giving a damn about your presence and leaving you alone. I wasn’t sure if they’d react to me poking around picking up items, yet I still treaded carefully and let them do their thing. Naturally figuring out how these enemies respond to you and their surroundings is a fascinating way to give variety to navigating the labyrinthine halls, and a touch of detail that isn’t often seen.

What’s more frightening is the butcher who roams the kitchen. Early in the preview, you have to slip through by pushing a cart to clear the path across the kitchen, and you have to do this undetected, which requires you to pay attention to his patrol pattern. It’s simple enough, and making a mistake means he’ll chase you down and show you how terrifying he is; one hit and you’re dead. But later in the playthrough where you have to revisit that general area, he begins patrolling the hallways around the kitchen, and here, his presence is truly felt. Hearing his footsteps set off alarms in my brain that he began lurking, and the tension that created changed how I navigated an area I already mapped out.

I would duck and peek out from adjacent rooms to see if he was coming, and make a mad dash to where I needed to go hoping for the best and not looking back. One time, I was peeking from the parlor room thinking I was out of sight, but the butcher caught me peeking just a little too confidently and pulled up on me – I now had this cat-and-mouse chase, luring him in one direction before juking him to get out of the room.

Probably the biggest comedy of errors during my playtime came from dashing to the cold storage room where my next objective was. I had a straight shot from, like, three hallways down and I risked it all by booking it and letting fate take the wheel. Just as I got to the last stretch, there was the butcher turning the corner and ending up right in front of me along his new patrol pattern. I backpedaled in a panic, pumped my one remaining shot from the superpowered Requiem pistol and the rest of my 9mm rounds, but it wasn’t enough; so I just took the L and reloaded my save.

The first time I got hit with a jump scare was when Chunk burst out into a hallway after I picked up a quest item. It began chasing me and it was easy enough to run to a room for safety since it couldn’t get through normal-sized door frames. But the rest of the surrounding hallways were fair game. And like many Resident Evils with puzzles, backtracking to this area later on filled me with dread. Thankfully, Chunk wasn’t as overbearing, but it’d more frequently completely block certain paths, forcing me to either take the long way around or wait things out until the coast was clear. But on my first attempt, I wasn’t exactly sure what its behavior pattern would be. And that’s a key part of making stealth gameplay interesting and horror work well – it’s that unpredictable nature of hostility.

These stalker-type enemies aren’t meant to be killed (as Grace, at least), and they’re also not quite like the persistent threats of Mr. X from Resident Evil 2 or Nemesis in Resident Evil 3. Each one seems to play different roles and present a different kind of dread throughout Requiem, which I suspect will lead to more variation. Even thinking back to the very first Requiem preview I played last year with the monstrous patient roaming the halls of the patient wing in Grace’s opening section, that was closer to a specifically scripted sequence. But it was a much more close-quarters stealth challenge where the windows of opportunity to escape were tighter. So, already, that’s three unique enemies playing into a horror experience in their own ways.

Requiem being primarily a survival horror game means it’s going to be a bit outside of what I traditionally expect from stealth-action games; or rather the stealth mechanics you see in so many action games. Hiding in tall grass, waiting for enemies to turn their backs, and getting a one-hit kill undetected is a tired trope at this point. Grace does get craftable single-use items for stealth kills, and I hope we’re challenged by limiting quantities so we have to really consider when to use them. But even then, Requiem doesn’t just deal in patrol patterns or throwing an object to cause a distraction, it also deals in vulnerability and the fear of unpredictability for Grace’s chapters. It’s not just the fear of getting detected, but the consequences that come with it.

Grace's portion of Requiem was about an hour-and-a-half to two hours of playtime. And after that, I was pretty exhausted from the tension. Don’t get me wrong, I was exhausted in a good way. However, that’s what makes the interstitial Leon sections so important. They’re a reprieve and an outlet to get all that stress out, a palette cleanser to balance things out and look at some of the same environments from a different perspective. This also offers a sort of best-of-both-worlds for the series, the slow and deliberate pacing of Resident Evil 7 alongside the top-tier action from Resident Evil 4, as examples.

After getting hands-on with a total of about four hours of Resident Evil 9 Requiem at this point, and sharing that experience with colleagues, I’m more excited for the series than I have been in recent memory. It’s the old mixed with the new, but all in a modern package with two protagonists I already like a lot. No shade to RE7 and RE Village, but Ethan Winters doesn’t compare to Grace, and definitely not my guy Leon. And with a thoughtful mix of action and stealth gameplay, February 27 can’t come soon enough when Resident Evil 9 Requiem hits PlayStation 5, Xbox Series X|S, Nintendo Switch 2, and PC.

Starfleet Academy Producers on the Return of a Classic Character: 'It Was Very Strange'

5 février 2026 à 15:44

Full spoilers follow for Starfleet Academy Episode 5, “Series Acclimation Mil.”

This week's installment of Starfleet Academy makes good on a promise Paramount+ essentially made last summer at San Diego Comic-Con when the streamer released a trailer for the series which seemed to indicate that the mystery of Captain Benjamin Sisko would be addressed. Sisko, of course, was the Starfleet officer and Emissary to the Prophets, played by Avery Brooks for seven seasons on Star Trek: Deep Space Nine, who disappeared in the classic series finale "What You Leave Behind," apparently ascending to a higher form of life as one of the other-wordly and god-like Prophets himself.

And now the episode of Starfleet Academy which delves into this topic has been released. In “Series Acclimation Mil,” Kerrice Brooks' Sam -- who is something of an emissary herself for her people -- embarks on a mission to learn everything she can about Sisko. Along the way, none other than Cirroc Lofton returns as Jake Sisko, having played Benjamin's son in DS9 all those years ago. And while Brooks does not appear as the long-lost captain, we do hear his voice in the final moments of the episode... and if you look really closely, you can see an image of his face in the clouds in that last shot.

We spoke with showrunners Alex Kurtzman and Noga Landau about the decision to return to the story of the Siskos, how it was achieved, and more...

The Return of Captain Benjamin Sisko and His Son Jake

IGN: At what point did you say, "We want to address the Sisko of it all"?

Noga Landau: I have to say that when I started this job, people from my past, the most random people were emailing me, DMing me and saying, "Hey, congrats. And by the way, when is someone going to do something for Captain Sisko? When is someone going to do something for DS9?" So it felt like the universe was sending us a very clear message.

And then honestly, in the room, we knew we wanted to do a Sam episode, and she's an emissary, and who's the most famous emissary in all of Star Trek? It's Captain Sisko. And our two writers for the episode, Tawny Newsome and Kirsten Beyer, they are walking Trek encyclopedias and their love for DS9 goes so deep. They know it so well. And they came together and we broke the story, we figured out how to write the love letter we wanted, but also really honor Avery Brooks and Cirroc Lofton.

And Cirroc, who is a friend of Tawny, so generously said he would come back and play Jake Sisko again, which was incredible. It was a dream come true to see him on screen again.

Alex Kurtzman: I think the other thing too is that Sam is asking this question, "Okay, I don't know what it means to be an emissary. It's this responsibility where I'm essentially supposed to be a bridge between my species, which I'm not even sure I fully agree with, and then the Federation. And where do I fit in there? What if I don't agree?" And is my job as emissary going to remove my personality from my choice, my own will from the equation? Obviously that mirrors a lot of what Sisko had to go through and the sort of "What am I going to give up for this particular task that I've been given?" So it felt like a very organic connection point.

IGN: What was it like getting the character of Jake and getting Cirroc back on set?

AK: They were very emotional, I think, for everybody. And he was very generous. He was very happy to be there. He really liked the script. He fully understood that it was a love letter, and he's very close with Avery. And so we really looked to Cirroc to make sure that... He was the best we could get, the Avery stamp of approval. And we had reached out to Avery and we didn't hear from him for a while, and so Cirroc ended up being the voice for us. And then by the end, Avery did reach out. And that is his voice you hear at the end of the episode.

It's really him, and it's a spoken word recording that he did himself a while ago that he let us use. And it happened to be ... the message of the episode. It was very strange. So maybe the clouds were watching.

It's a spoken word recording that Avery did himself a while ago that he let us use. And it happened to be ... the message of the episode. It was very strange.

IGN: Did he explain what it was about this particular story that finally made him want to even acknowledge Star Trek? He's been pretty adamant about, "I'm done. I'm out. Don't talk to me about it."

NL: In the way that you leave a love letter for someone expecting for it only to be received, that's really what we did with him. We did not want to ask anything in return. We wanted him to have this and just to receive it and to take it, if he was willing to.

The fact that he then let us use his voice at the very end was so impactful and so emotional. And it would've been enough for him just to watch the episode and enjoy it, but I think we had a joke on set that Cirroc in many ways was our emissary to Avery, and it was simply enough to know that he's out there somewhere in the universe and he knows that we made this episode for him.

Starfleet Academy Episode 5 is available on Paramount+ now.

The Resident Evil: Reqiuem Leon S. Kennedy Amiibo Is Real and on the Way This Summer

5 février 2026 à 15:36

Wait, Leon Kennedy is in Resident Evil: Requiem? Yeah, okay, we've known that for a bit now, perhaps longer than Capcom wanted us too. But what is news today is that the long-rumored Leon S. Kennedy amiibo is real, and coming alongside the previously announced Grace Ashcroft amiibo this summer.

This was announced during today's Nintendo Partner Direct, which showed a trailer for Reqiuem mostly containing footage and news we've seen already. We knew about the February 27 release date, the Gold Editions of Resident Evils 7 and 8 releasing alongside it, and the special Nintendo Switch 2 Pro Controller. We'd also already heard about the Grace Ashcroft amiibo before.

But we didn't actually know about Leon. He was, uh, strongly suspected, even before we officially knew he was going to be in the game, something Capcom tried to keep hidden way longer than was necessary. Since his official reveal at The Game Awards, we've seen a sudden surge of love for the classic protagonist, with fans referring to him as a "Hot Uncle" and comparing him to Keanu Reaves. He's set to be getting a roughly equal amount of screentime to fellow protagonist Grace, so it only makes sense they'd both get amiibos.

We've seen a lot of Reqiuem on multiple platforms in the lead-up to its February release. Most recently, we previewed it on the Nintendo Switch 2 at a Nintendo event, and our previewer said that "I was so terrified by being relentlessly stalked by this monster that any concerns I had about the version I was playing instantly melted away." We also recently learned that speculation the game would be open world was "dead wrong" according to the game's direct.

You can catch up on everything announced at today's Nintendo Partner Direct right here.

Rebekah Valentine is a senior reporter for IGN. Got a story tip? Send it to rvalentine@ign.com.

Final Fantasy 7: Rebirth Is Coming to Nintendo Switch 2 and Xbox This Year

5 février 2026 à 15:29

During today's Nintendo Switch 2 Direct presentation, Square Enix made an exciting appearance to show off Final Fantasy 7: Rebirth, which will be joining its predecessor Remake and catching Switch players up on the story at last on June 3, 2026. We also learned via the Xbox Store that the game will hit Xbox consoles simultaneously.

We have known the entire FF7R saga would be on Nintendo platforms at some point. It was just a matter of time. Rebirth's appearance will effectively catch players on Nintendo platforms up with the story so far, just in time for what we hope will be the announcement and release of the third and final part of this saga.

Pre-orders for Rebirth on the eshop begin today, and there are various digital bonuses available for those who take advantage of that.

Final Fantasy 7 Remake first launched in 2020 to insanely high expectations...and yet delivered anyway. We gave it an 8/10, saying that it "breathes exciting new life into a classic while standing as a great RPG all its own." The game was originally a PS4 exclusive, but came to PS5 with Final Fantasy 7 Remake: Intergrade, and later to PC and Nintendo Switch, and Nintendo Switch 2 as well just recently.

We similarly loved Final Fantasy 7 Rebirth, giving it a 9/10 and saying it "impressively builds off of what Remake set in motion, both as a best-in-class action-RPG full of exciting challenges and an awe-inspiring recreation of a world that has meant so much to so many for so long."

You can catch up on everything announced at today's Nintendo Switch 2 Direct right here.

Rebekah Valentine is a senior reporter for IGN. Got a story tip? Send it to rvalentine@ign.com.

The Adventures of Elliot: The Millennium Tales Is Out in June

5 février 2026 à 15:12

The Adventures of Elliot: The Millennium Tales has reappeared at today's Nintendo Partner Direct with a proper release date of June 18, 2026.

Today's trailer highlighted four different "ages" that the main character, Elliot, will visit over the course of the game: The Age of Safekeeping, Reconstruction, Magic, and Budding. As he visits these ages, Elliot will see the scenery and people living in his hometown change, and he'll collect items and magic unique to each time period.

The Adventures of Elliot: The Millennium Tales was first announced last July at a Nintendo Partner Direct. And though we've had a free demo available already, this is Elliot's first real emergence since the initial announcement.

The Adventures of Elliot is Square Enix's first attempt to translate its HD-2D style into a more action-focused game than a turn-based RPG. Rather than a part of heroes, Elliot can use different weapon types that will play differently and can be advantageous or disadvantageous against different foes. His fairy companion, Faie, can also either attack enemies herself or be controlled by a second player in a co-op mode.

You can catch up on everything announced at today's Nintendo Partner Direct right here.

Rebekah Valentine is a senior reporter for IGN. Got a story tip? Send it to rvalentine@ign.com.

Planet of Lana 2 Is Like a Star Wars Story Made by Studio Ghibli

5 février 2026 à 15:00

I may have only played the opening couple of hours of Planet of Lana 2, but I lost count of the number of ways it reminded me of Star Wars. From just a single glance at one of its many gorgeous landscapes, you can see in the geography and architecture what look like Studio Ghibli interpretations of Ralph McQuarrie’s original sketches for Lucasfilm’s immortal sci-fi series. Peek within that frame and you’ll see rickety sci-fi vehicles and clunking robots that wouldn’t be out of place on the streets of Mos Eisley. Lend your ear to that scene, and the whirring sounds of those same droids and digitised radio chatter of enemy guards could easily be coming from R2-D2 and Stormtroopers, respectively. All of these aspects add up to something that is far more than referential, though, instead shaping a confident, expansive puzzle platformer sequel of its own original design.

One of the first things that hits you when booting up Planet of Lana 2 is the music. Again, the soaring of its strings and the twinkle of its brass conjure up strong images of a galaxy far, far away. But, this time, it shouldn’t come as a surprise — the sequel's score is once again composed by Star Wars: The Clone Wars orchestrator, Takeshi Furukawa. Incidentally, he’s also behind the music of The Last Guardian, a game that greatly inspired Wishfully, the small Swedish developer behind Planet of Lana 2. It carries on that same “child on a dangerous, yet wondrous adventure with a fantasy animal companion” legacy, this time with a darker tone as shades of Limbo and Inside come to the fore.

The 2.5D stealth-puzzle-platforming takes place on a bigger canvas compared to its 2023 predecessor. Two years after the events of that game, protagonist Lana has settled back into family life on the planet of Novo, though clearly mystery and intrigue still remain, both on its surface and bubbling below it. After a short tutorial section investigating the corpse of the hulking spaceship that brought her people to this new land, Lana’s sister is taken ill, and you’re promptly sent on a mission to hunt down rare ingredients for a remedy. This journey takes Lana to new regions of the world, which gives Wishfully’s art team new scope to stretch their creative muscles, but also presents welcome new ideas when it comes to puzzle design.

A now older, more confident Lana is more agile than before, able to slide under low-hanging metal for quick escapes and even dive into the ocean to solve whatever conundrums its depths are hiding. Lighter on her feet this time around, she’s practically a backflip and a handstand away from moving more like a Lara than a Lana. Whether clambering through caverns or broaching darkened mine shafts, platforming is more about patience and precision than speed and reflexes. The sequel’s expanded vision also extends to the framing of its puzzles, with larger areas demanding further exploration of the scene – you must look for helpful items in areas high above and further off-screen than you might expect.

There’s a great sense of tactility to every heavy lever pull, as heavy machinery and hulking robots lurch and creak.

That said, many of the challenges I faced through this two-hour demonstration were largely the sort of combat-avoidant stealth sequences that reward patience – as in, you must remain motionless while waiting for obstacles to morph into the required shape, or for enemies to turn the other way, creating a safe passage through. I would never say this becomes tedious, but for those who prefer a bit more zip and thrust to their action, here's a heads up that I wouldn’t necessarily expect that here. To those who didn’t play the original Planet of Lana, it’s much closer to a Little Nightmares than it is to a Metroid in its level design and enemy encounters. But similar to Samus’ space adventures, there’s a great sense of tactility to every heavy lever pull, as heavy machinery and hulking robots lurch and creak inside a mountain facility, dwarfing Lana and her even smaller, spherical companion, Mui.

This little ball of charm provides a furry edge to many of Planet of Lana 2's puzzles, with their newly increased ability set adding welcome extra variety to the mix alongside their existing skillset. I particularly enjoyed further explorations of Mui’s somewhat telepathic ability to control creatures around the world of Novo. For example, fish can be sent to zip around and deploy clouds of ink that masks the vision of larger-finned foes, and sticky balls of blob can create trails of sludge that transform into paths of fire to remove flammable obstructions. These fuse-like puzzles, which task you with examining the level geography as you trace its edges to reach your goal, were some of my favourites in this preview demo.

Although I’ve only seen around a third of the game, even at this early stage, I am wary that some mechanics are already on the edge of being used one too many times, threatening to turn some brainteasers into busywork. But, largely on the whole, the puzzles have proven fun and fair, compelling me to pause and think, but never to the detriment of the momentum of the story. It fits the urgency of the tale being told, with many mysteries lurking in the background. It's this intrigue that drove me through these early hours on the path to discovery, as well as the distinct sense of adventure as you hop around this thoroughly alien planet, painted with beautiful art and soundtracked by a sensational score.

Much like Star Wars does with its flashy lightsaber duels and thrilling space battles, Planet of Lana never forgets to put character front and centre, even in its puzzles. Reassuring nods and moments of murmur in an alien tongue help solidify the bond between Lana and her furry friend, all while keeping the story of their adventure foremost in mind. And, just like The Empire Strikes Back, Planet of Lana 2 teases in these early hours that it’s certainly not afraid to enter darker territory on a grander scale, whilst leaving plenty of time for those smaller moments. It’s all very promising, and a reassuring sign that the heart of its short and sweet predecessor is being carried over into this expanded, more ambitious sequel on March 5th.

Simon Cardy is a Senior Editor at IGN who can mainly be found skulking around open world games, indulging in Korean cinema, or despairing at the state of Tottenham Hotspur and the New York Jets. Follow him on Bluesky at @cardy.bsky.social.

Star Trek: Starfleet Academy Episode 5 Review - The Return of a Trek Legend

5 février 2026 à 15:00

Spoilers follow for Star Trek: Starfleet Academy Episode 5, “Series Acclimation Mil,” which is available on Paramount Plus now.

So here it is – the Benjamin Sisko episode that Starfleet Academy has been teasing since at least as far back as last summer. The notion of returning to the mystery of what happened to Avery Brooks’ legendary Deep Space Nine captain is a daunting undertaking for the fledgling Starfleet Academy, but fortunately the episode’s writers (Trek vets Kirsten Beyer and Tawny Newsome) don’t attempt to alter or add to Sisko’s story – which after all was essentially completed with the end of DS9 – but rather use his legend to expand on one of the new show’s main characters, Sam (Kerrice Brooks).

I mean, that’s literally how the episode starts off as “A Story About Me” is scrawled over the “A CBS Studios Production” title screen. Make no mistake: “Series Acclimation Mil” is about Sam, not Sisko. The episode is even named after her!

And while the story involving Sam is another of the coming-of-age type tales that Starfleet Academy is interested in, one where the holographic student finds some semblance of independence from her overbearing “parents,” there’s no denying that merely evoking the name Ben Sisko is a big pull, and that as a result anything short of the return of Brooks in the role can’t help but feel a bit anti-climactic.

As all the episodes of this first season have done so far, “Series Acclimation Mil” focuses on one of the series’ leads, and in so doing finally gives us some information about who and what Sam is. We knew she was a photonic being, aka a hologram, but now we know that her real mission at the Academy is to serve as an emissary for her “people,” who come from a world called Kasq and were enslaved by organic beings “a long time ago.” As a result, they now fear that interacting with non-photonic lifeforms will mean a return to the slavery of their past, and so they’ve sent Sam to feel things out and figure out what the deal is with these organic types.

The thing is, her overseers are basically jerks who don’t get her or understand the outside world in the same way that Sam has already come to do in her short time at the Academy. So basically she’s the same as any student who goes off to college and realizes their parents are totally out of it. Join the club, kid.

If they couldn’t get Avery Brooks back, then Cirroc Lofton returning as his son Jake is the next best thing.

The episode is shot in a pretty unconventional way for Star Trek, with Sam talking directly to the camera at times and doing some impromptu dancing, while on-screen graphics illustrate some of what she’s discussing and distinctly non-Trek music pops off in the background, all of which will surely infuriate the Very Angry crowd who either specialize in the monetization of hate or just plain don’t understand what Star Trek was ever about (or maybe are just bots). Whatever the case, I liked the unique presentation of this episode, though I do suspect that if the aim here is to have it speak to young audiences, it will read as more “cringe,” as they say, than anything else to that very same audience.

Of course, the real reason Sam is talking to the camera is that this is all supposed to be the message she sends Sisko at the end of the episode. Speaking of which, if they couldn’t get Avery Brooks back, then Cirroc Lofton returning as his son Jake is the next best thing. The holographic recording of Jake talks about his dad the way he knew him, as a man, a guy who loved baseball, a chef, but most of all as a dad… the lessons and example of which Jake pulled from when he eventually became a dad himself. This father/son relationship was always one of the most important on Deep Space Nine, and the fact that Beyer and Newsome lean into it with their script is just perfect, as is Lofton’s return. Sisko’s relationship with his status as Emissary of the Prophets was always an uneasy one, and it only makes sense that Jake would remember his dad as the man he was, not the god he would become.

Meanwhile, the B-story involving the War College’s Chancellor Kelrec (Raoul Bhaneja) is amusing in and of itself, especially since it gives Tig Notaro and Robert Picardo something to do this week, and certainly the reveal that he feels that Holly Hunter’ Chancellor Ake betrayed Starfleet when she resigned years earlier is interesting.

But back to Sam, the return to Sisko’s old stomping grounds to party, resulting in the hologram getting drunk, leads to various hijinks that just stop short of becoming annoying. Starfleet Academy has proven adept at weaving its various characters’ ongoing story threads into whatever else is going on each week, and just when drunk Sam is about to become too much, we cut to Caleb and Tarima flirting outside the bar, or tensions with the War College kids escalating (again).

The culmination of the episode is sweet, as Sam visits with Jake through some Magic Science and comes to realize that just as Sisko did 800 years earlier, Sam has to make her own life choices for herself as much as she can. It’s the “We’re Not Gonna Take It” of Star Trek resolutions, thank you Dee Snider, and it works beautifully, culminating in words spoken by Avery Brooks himself (if not recorded for this actual episode) as the image of Sisko can faintly be made out in the clouds.

Questions and Notes from the Q Continuum:

  • When that DS9 theme music kicked in… man.
  • Tawny Newsome didn’t just co-write the episode, but that’s also her as the Starfleet instructor who turns out to be the latest incarnation of Dax.
  • I’m surprised Robert Picardo’s The Doctor, as a hologram himself, hasn’t been given more of a stake in Sam’s story so far. Although his advice about moving on after loss is telling…
  • While it doesn’t seem that Sam’s “people” were created by humans or the Federation – presumably Sam has been made to look humanoid/human to fit in better – their history of enslavement does sound familiar, as we saw on Star Trek: Voyager how a whole army of holographic doctors had been forced into hard labor when they became obsolete.
  • Those War College jerks!
  • A theremin? Why not!
  • “Bajoran kids don’t play.”
  • They don’t even show images of Sisko anymore on Bajor because they believe he’s transcended human form… and probably because Avery Brooks would have to be paid for it?
  • Why would the Sisko Museum have Benny Russell’s typewriter if Benny had only existed as a dream/vision/whatever?
  • Jake’s novel Anslem does have its roots in the original DS9, having first been mentioned in the all-time great episode “The Visitor.”
  • The bar formerly known as The Launching Pad was in fact the site where Sisko fought a Vulcan, specifically Solok, the a-hole who he'd also battle in a baseball match in the episode “Take Me Out to the Holosuite.”
  • While I said earlier that this episode doesn’t really change Sisko’s story in any way, that is perhaps not entirely true. After all, if Dax and Jake don’t have the answers regarding what happened to Sisko after he ascended to the Celestial Temple, then presumably nobody does? Which means Sisko never did come back… even though he promised in the DS9 finale that he would. But then again, maybe Dax and Jake just aren’t talking…

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