Talented modder ‘JulioNIB’ has released a public free version of his Superman mod for Grand Theft Auto 5. This mod will let you wreak havoc in Los Santos as the Man of Steel. And the best part? There is a custom skin that lets you play as Henry Cavill’s Superman. As Superman, players can use … Continue reading You can now play as Henry Cavill’s Superman in Grand Theft Auto 5→
Full Disclosure: This is a sponsored article Written by KeysOff With Windows 10 now officially out of support, PCs still running it no longer receive security patches or critical updates — making an upgrade more important than ever. The good news is that switching doesn’t have to be expensive. During the Keysoff Christmas Sale, you … Continue reading Enhance your workflow with MS Office 2021 & Windows 11 Pro from just $14 on Christmas Sale→
I spend an embarrassing amount of time watching prices move, partly out of professional duty and partly because I hate paying full price. This week’s crop finally rewarded the obsession. There are a few deals here that feel less like discounts and more like apologies. Happy hoidays and even happier savings to you all.
In retro news, I'm celebrating the 29th birthday of Christmas NiGHTS into Dreams, arguably gaming's greatest seasonal freebie. Mind you, last year's Christmas level update for Astro Bot sure does come a close second.
Sega threw Chrissy NiGHTS in with my purchase of a select Sega Saturn game, and it was basically a little advent calendar whose content shifted in sync with my console's internal clock. Beating a level (reskinned in a wintry and/or outright Christmas theme) earned you limited chances to solve a tile-matching puzzle to unlock 25 "Presents." The best of the bunch? A mini-sandbox level starring Sonic the Hedgehog that ends with a satisfying Eggman scrambling. I adore this demo disc and replay it every year without fail.
Hollow Knight (-50%) A$8.70 A masterclass in atmosphere and map design from Team Cherry, and still one of the best examples of how far patience and polish can carry a small studio.
Borderlands 3 Ult. (-50%) A$44.60 The full loot-shooter package with every major expansion included, and far better paced now than it was at launch.
Gris (-82%) A$4.20 A wordless platformer about grief and recovery, elevated by art direction that still gets cited in design talks years later.
Immortals Fenyx Rising (-85%) A$8.90 Ubisoft Quebec’s playful take on open world design, packed with myth jokes and puzzle shrines that clearly learned from Breath of the Wild.
The Witcher 3 Comp. (-75%) A$19.90 Still one of the strongest RPG narratives ever made, and borderline witchcraft that it runs this well on Switch.
Rogue Legacy (-90%) A$1.60 A roguelite that popularised generational progression, and remains dangerously moreish in short bursts.
Nightreign Sekker's Ed. (-60%) A$34 A lavish physical release for Elden Ring fans who enjoy maps, art books and a bit of shelf flex.
Diablo IV (-73%) A$30 After multiple seasonal overhauls, Blizzard’s action RPG finally feels tuned for long term play rather than launch week spikes.
Like a Dragon: Ishin! (-58%) A$42.30 A historical spin-off that swaps neon streets for samurai drama, while keeping the series’ trademark absurd side stories intact.
Blasphemous (-80%) A$7.40 Grim, pixelated soulslike combat inspired by Spanish religious art, and far more unsettling than its screenshots suggest.
Dredge (-60%) A$13.90 A fishing loop that slowly reveals cosmic horror, built around risk management rather than reflexes.
Xbox One
Assassin's Creed Valhalla (-61%) A$39 A sprawling Viking epic best enjoyed as a slow burn, with side arcs that often outshine the main plot.
Red Dead Redemption 2 (-75%) A$22.40 Rockstar’s most meticulously detailed world, where even minor NPC routines feel authored with obsessive care.
Xbox Wireless Controller Carbon Black (-26%) A$74 Still one of the most comfortable controllers around, and a sensible spare if yours has survived too many rage quits.
Kingdom Come Deliverance II (-50%) A$57.40 A hardcore medieval RPG sequel that doubles down on historical accuracy, right down to combat techniques drawn from manuscripts.
Marvel's Spider-Man Miles Morales (-48%) A$49 Shorter than the first game but packed with confidence, and still one of the best showcases for PS5 performance.
Triangle Strategy (-60%) A$36.30 A tactics RPG that prioritises political storytelling, with choices that genuinely lock and unlock narrative paths.
Hogwarts Legacy (-85%) A$14.90 A richly detailed wizarding sandbox that rewards exploration, especially if you enjoy poking behind every moving staircase.
Yoku's Island Express (-90%) A$2.40 A joyous mashup of pinball tables and platforming that feels hand built for smiling through a single sitting.
PS4
Neo The World Ends With You (-53%) A$39.90 A stylish sequel that modernises its combat systems without losing the series’ fashion obsessed identity.
NieR Replicant Ver. 1.22 (-50%) A$44.90 A melancholy RPG remaster that contextualises Automata, filled with narrative tricks that still catch players off guard.
Persona 5 Strikers (-55%) A$45 A surprisingly faithful sequel that swaps turn based combat for musou action while keeping character chemistry intact.
Dead Island 2 (-90%) A$7.40 Weighty melee combat and absurd gore tech combine into a zombie game that knows exactly what it wants to be.
Final Fantasy VII Rebirth (-50%) A$52.40 A confident continuation that expands the remake project, layering character moments between bombastic set pieces.
Kena Bridge of Spirits (-70%) A$17.90 A debut from former animators that looks like a Pixar film, but hides a tougher combat edge than expected.
Death's Door (-80%) A$5.90 Tight isometric combat and a surprisingly sincere story about burnout, told through a sword wielding crow.
Overcooked All You Can Eat (-75%) A$14.20 Chaotic co-op perfection that stress tests friendships, now bundled with every kitchen and quality of life upgrade.
Adam Mathew is a passionate connoisseur, a lifelong game critic, and an Aussie deals wrangler who genuinely wants to hook you up with stuff that's worth playing (but also cheap). He plays practically everything, sometimes on YouTube.
Christmas Eve is here, and if you still haven't managed to find a gift for the holiday season, today is your last chance to save on a PlayStation 5 Pro. PlayStation's holiday sale started a few weeks back, and this discount on the PS5 Pro will end tomorrow on Christmas Day. If you've been holding out, don't miss your chance to save $100 off Sony's most premium console.
PlayStation 5 Pro for $649
Without question, the PlayStation 5 Pro is the most powerful console on the market. This console is packed with extra horsepower to make games run better than PlayStation 5, and for many games, the difference is very noticeable. Utilizing PlayStation Spectral Super Resolution (PSSR), games like Final Fantasy VII Rebirth, Resident Evil Village, Returnal, and Alan Wake 2 are all day-and-night differences compared to PS5.
Most games will see increased frame rates and resolutions, but PS5 Pro also brings in support for Advanced Ray-Tracing. This can be seen in games that have ray-traced lighting, with the Pro offering more support than was possible with PS5. If you already own a PS5, the Pro might not be a very attractive purchase at $649. However, if you're entering the console space and choosing between the Xbox Series X or PS5 Pro, the price difference between the two today is negligible.
While it's possible that PS5 Pro might go on sale in the Spring, I wouldn't count on a better discount showing up for quite a while. If you have even the slightest bit of interest in picking one up, today is the best time to do so. Outside of this holiday sale, we have only seen a $100 discount for a few days in June 2025.
Noah Hunter is a freelance writer and reviewer with a passion for games and technology. He co-founded Final Weapon, an outlet focused on nonsense-free Japanese gaming (in 2019) and has contributed to various publishers writing about the medium.
The highest scores on IGN’s review scale are 9 for “Amazing” and 10 for “Masterpiece.” This year, only sixteen films received the highest marks from IGN’s roster of critics, and of those, only two films received a perfect score of 10.
Horror movies were particularly well received by our reviewers, as were indie films, but the most obvious throughline with all of these picks is that they were films made by great directors such as Paul Thomas Anderson, Spike Lee, Guillermo del Toro, Ryan Coogler, and Kelly Reichardt, just to name a few. Surprise! Great directors usually make great movies.
Here are IGN’s best reviewed movies of 2025, starting with all the 9s:
“We’re the Real Monsters”
From one of the most iconic creatures in cinematic history to blues-lovin’ vampires and a new breed of the Infected, this was a big year for monster movies. And by monsters, we mean humans; there are no Xenomorphs or killer sharks to be found on this list.
Guillermo del Toro finally realized his decades-long ambition to adapt Frankenstein, which IGN’s Scott Collura called “a crowning achievement for the beloved genre director and one of the most effective adaptations of the Mary Shelley story ever put to film.” In his review, Collura hails del Toro for going “for a tale of tragedy, romance, and redemption rather than a straight horror flick. Which isn’t to say that there isn’t plenty of gore or creepy moments, but that’s the trimmings of this film, as blood-red as they are. No, del Toro’s really interested in – to paraphrase the Creature – why violence so often feels inevitable. And what it takes to stop it.”
Oscar Isaac’s Victor Frankenstein and Charles Dance as his nasty dad are the true monsters in the film, with the Creature being written by del Toro and, in a revelatory performance, played by Jacob Elordi as “a sympathetic, sad-sack SOB who just wants a friend. That the actor also seems to be channeling the body work of GDT regular and creature-player extraordinaire Doug Jones only accentuates how different Elordi’s Creature is from past incarnations.”
Ryan Coogler also found the humanity in the monsters of his film Sinners, with Eric Goldman writing in his review: “They’re sufficiently creepy and bloodthirsty, but Coogler also leans hard into the idea that vampires, in many cases, are depicted as seductive, sexual creatures – and there’s an allure to joining their undead ranks.”
“The vampires of Sinners share something of a hive mind. Amid all the racism and other senseless reasons humans turn on each other for – which Smoke, Stack, and their loved ones are especially familiar with given where they live – here is a society that moved beyond such petty hatred. If you’re a vampire, you’re accepted, regardless of your skin color. You only need to watch out if you’re not one.”
And there’s Weapons, Zach Cregger’s darkly funny horror-thriller that examines an entire community of people. “The mystery of a mass disappearance and its impact on a small town unfold in a fascinatingly layered way that gives every character a chance to shine; the wise decision to break their stories up into multiple, time-scrambling chapters creates multiple cliffhangers that set up a shattering finale,” Tom Jorgensen wrote in his review.
“From that primal starting point, Weapons unfurls itself in time-hopping chapters that afford the story a tremendous sense of scope in spite of its relatively diminutive setting. Each segment takes its time to dig into how the disappearances have affected the lives of those closest to the situation, and Cregger takes care to introduce the audience to the characters in quiet, personal moments of struggle. No one person’s perspective feels more important than any other’s; what’s revealed by these various vantage points makes us constantly reassess our own view of Weapons' bigger picture.”
Across the pond, director Danny Boyle and screenwriter Alex Garland revisited post-apocalyptic Britain in 28 Years Later. The movie introduced the Alpha, a subspecies of the Infected who procreate and run around buck naked and buck wild; they’re returning for the upcoming sequel, 28 Days Later: The Bone Temple. “These crazy-ripped, nigh invincible hulks immediately ratchet up the tension any time they’re on screen, with finishers that would make even Sub-Zero exclaim ‘flawless victory’ in satisfied wonder,” Tom Jorgensen wrote in his review. “But as is often the case in zombie fiction – here, let me just lean in and whisper real quick… maybe we’re the real monsters,”
In the film, generations of young Brits have had to grow up too quickly and have only ever known life with the Rage Virus. “The way Holy Island’s citizens are lionizing Spike’s ascension to the hunter role, good-natured though it is, has a haunting, violence-begets-violence quality to it, underlined by the montages of child soldiers and the war poetry of Rudyard Kipling peppered into the edit,” according to Jorgensen.
Elio: The Pixar Box Office Bomb We Loved
Pixar Animation once had the Midas touch at the box office, but in the wake of flops like The Good Dinosaur and Lightyear, they’re no longer a sure thing commercially. That’s too bad, because we found their most recent film, Elio – about a boy who wants to venture into outer space to live with aliens – to be an audience-pleaser despite its dismal box office performance.
“With incisive humor, radiant, eye-catching animation, and peculiar alien characters, there’s enough entertainment value in Elio to satisfy viewers who are the protagonist's age or younger,” Carlos Aguilar wrote in IGN’s review. “But it’s the heartfelt insight about universal (literally and figuratively) sorrows and joys that make this one of the studio’s most poignant projects to date – even if it leaves you wishing some of its imaginative concepts and creations would have received more screen time.”
This Is Bananas
One film has a pop star chimp, the other has an evil wind-up monkey toy, and both received a 9 from our critics.
First up is the Robbie Williams biopic, Better Man, which depicts the British singer as a CGI chimp brought to life by Weta. “The bold risk of transforming Robbie Williams into an enjoyable CGI chimp pays off both emotionally and visually,” Hanna Ines Flint wrote in IGN’s review. “Turning his back catalogue into epic musical numbers with stunning choreography and heart-wrenching storytelling, Better Man comes out swinging and winning.” (Editor’s note: Better Man had a limited theatrical release in North America during the Christmas week of 2024 before it opened wide on Jan. 10, 2025; our review was posted on Jan. 8, 2025, so we have included the film among this year’s releases.)
Then there’s Osgood Perkins’ horror film, The Monkey, which we hailed as “a multifaceted rollercoaster of a midnight movie that elicits as many laughs as shocks or gross-out gags.” IGN’s Tom Jorgensen wrote in his review that “The Monkey marches to the beat of its own bloodstained drum – and it’s an irresistible rhythm to groove to. Osgood Perkins and cast balance the horror and comedy inherent in the movie’s silly premise exceptionally well, and the surreal, absurd touches the Longlegs director adds to a world sketched out by Stephen King only help to set it apart from less imaginative, body-count-obsessed movies.”
The Return of the Indie Auteurs
Two of the biggest names in ’90s and ’00s indie cinema had new films out this year. Kelly Reichardt was back with The Mastermind, which our critic Chase Hutchinson noted in his review features “career-best work from Josh O’Connor” and cements Reichardt’s place as “one of the best filmmakers working today, cutting deeply into both character and country to make a great new American heist film.”
That OG slacker, Richard Linklater, had not one but two new movies this year, Nouvelle Vague and Blue Moon, the latter earning a spot on this list. In his Blue Moon review, Siddhant Adlakha praised Linklater’s film about “the final days of Broadway songwriting legend Lorenz Hart (a magnificently melancholy Ethan Hawke) on the opening night for one of his former creative partner’s biggest hits. Jealousies and creative anxieties fly as Hart tries to maintain balance through friendly conversations, all while the specter of World War II hangs overhead, posing the question of what makes art, artists, and audiences tick during difficult times.”
A Cut Above
Not one but two action movies about vengeful women with samurai swords have landed on our list of best reviewed movies of 2025… albeit one movie is actually a combination of two films released over 20 years ago.
Although it screened at film festivals years ago, Quentin Tarantino waited until he could own the rights before seeking theatrical distribution for the four-and-a-half-hour-long Kill Bill: The Whole Bloody Affair.
“The film is as vicious, fun, and sentimental as it’s always been, and although you could technically rewatch Vol. 1 (2003) back-to-back with Vol. 2 (2004) for a similar experience, nothing rivals the delights of watching Tarantino’s cross-cultural mash-up the way it was meant to be seen,” Siddhant Adlakha explained in his review.
“It’s perhaps the mash-up maverick’s most overt work of cultural bastardization-slash-homage, a thin line he traipses with gusto by combining the sounds and styles of spaghetti Westerns, spy B movies, Japanese chanbara (or swordplay) and Chinese wuxia, all choreographed by Hong Kong stunt legend Yuen Woo-ping. However, the long-overdue release is also a more mournful tribute to bygone eras of cinema, simply by virtue of the passage of time: Many of its stars have since departed, including David Carradine, Sonny Chiba, Michael Madsen, and Michael Parks, as well as the film’s editor, Sally Menke. Kill Bill should have always been this way, but it’s better late than never.”
Tarantino veteran Tim Roth, meanwhile, plays the villain in Slow West director John Maclean’s period action film, Tornado. Hanna Ines Flint’s review said “Maclean brilliantly captures the brutality and hardship of 18th-century Britain in a bleak but blistering coming-of-age tale loaded with nods to the samurai stories of Akira Kurosawa. Japanese actor Kōki is sharp and passionate in the lead role, Tim Roth impresses as a tired but ruthless crimelord, and Takehiro Hira and Jack Lowden are compelling in their supporting roles. With a blistering score and a darkly comic undercurrent, Tornado is a timeless revenge thriller filled with hurt and heart.”
A24’s Big Year
Indie distributor A24 released many notable films this year, many of which were well received but – IGN score-wise – fell short of meeting this article’s threshold of a 9 or above. Among the A24 films that didn’t make the cut were Civil War, Eternity, Eddington, Bring Her Back, Ne Zha II, Friendship, Opus, The Smashing Machine, and The Legend of Ochi.
However, Josh Safdie’s table tennis dramedy, Marty Supreme, featuring a stellar lead performance by Timothée Chalamet, earned a 9 from IGN’s Michael Calabro. In his review, Calabro forecast that “Marty Supreme and Uncut Gems will spawn many of their own Goodfellas/Casino debates in the future. It doesn’t matter what side you take; we’re insanely lucky all these films exist.”
Meanwhile, Spike Lee was back in a big way with Highest 2 Lowest, his remake of an Akira Kurosawa classic that Siddhant Adlakha explained in his review “begins as an austere class melodrama, but soon gives way to some of the most exciting, visceral images of Spike Lee’s career. It filters the kidnapping conundrum of its source materials through a kaleidoscope of Black culture, anchored by the great Denzel Washington at his most Shakespearean. It’s been nearly 20 years since the director and actor last collaborated, but neither man has lost a step.”
Celine Song followed up her Oscar-nominated Past Lives with Materialists, a romantic drama about dating in middle age. In his review, Adlakha wrote that Song “uses the screen presences of lovelorn leads Dakota Johsnon, Chris Evans, and Pedro Pascal to play with rom-com expectations. The result is an unexpected love triangle of cynics, both rich and poor alike, caught in a world where dating can be a game of numbers, forcing them to harden themselves towards romance. But as the possibility of the real thing rears its head, Song presents it in deeply alluring hues without ever shying away from the realistic allure of even the most bitter alternatives.”
But our highest-rated A24 film of the year – Sorry, Baby – is also one of only two films we awarded a perfect score of 10.
The 10s: Our Top Two Films of the Year
Films that earn a score of 10 are labeled by IGN as Masterpieces, which our review scale explainer describes as “classics in the making.” But what does that actually mean? IGN’s Michael Calabro wrestled with that very question in his One Battle After Another review:
“Frankly, when trying to come up with my final score for this movie, I’ve spent an absurd amount of time trying to figure out the difference between a 9 out of 10 and a 10 out of 10. What does an abstract “one better” mean? Then it hit me: Who says our review scale is linear, with each number being equally spaced from the other? We’re ‘measuring’ art with numbers, for Christ’s sake; it’s all a construction we’ve collectively made up.”
In delivering his score, Calabro ultimately concluded that “the elements that separate an ‘amazing' film from a ‘masterpiece’ are minor. … There are so many little details, seemingly inconsequential touches – the filmmaker’s style, if you will – that all add up bit by bit to turn this amazing movie into a masterpiece.” But Paul Thomas Anderson’s politically charged and darkly funny saga of revolutionaries and fascists wasn’t the only film to receive a perfect score from us in 2025.
Eva Victor made a stunning directorial debut with Sorry, Baby. Carlos Aguilar called it a “bittersweet, unassuming stunner,” writing in IGN’s review that “Sorry, Baby pulls off astounding feats of storytelling. It’s not only because it jumps across multiple time periods with powerful impact, but also because it addresses a challenging topic like the trauma of sexual assault with nuance, restraint, and even effective and consistent humor. Writer-director-star Eva Victor has made a movie that’s at once approachable, incredibly perceptive, and subtly stirring.”
A musical biopic fittingly composed of religious ballads, The Testament of Ann Lee chronicles the life of its eponymous 18th century religious leader, played with tremendous passion by Amanda Seyfried. It spans several decades and traces Ann’s travels from Manchester to New York as well as the newly-invented religious dogmas that guided her journey. It’s a film of spiritual ecstasy that lives on the edge of realism – for better and for worse – while mythologizing an oft-forgotten historical figure whose unusual beliefs about celibacy had altruistic ends, making for a particularly compelling experience.
Directed byThe Brutalist co-writer Mona Fastvold and co-written by that film’s director and other co-writer, Brady Corbet, The Testament of Ann Lee arrives with all the lush historical detail you’d expect, made even more inviting by William Rexer’s 70mm cinematography. It begins with a decontextualized vista of women in bonnets and religious robes moving rhythmically in the woods in the late 1700s. This image, removed from time, is all that’s known to most people about the United Society of Believers in Christ's Second Appearing, also known as the “Shakers,” a particularly enduring Christian sect – their number recentlyrose to 3. Ann was once their prophet, one of the rare female figures of such importance at the time.
One of these dancing women, Mary Partington (Thomasin McKenzie), is both a key supporting character in the film as well as its narrator, providing conflicting accounts of Ann’s life but ultimately deciding which parts of her story are worth telling… and believing. It’s a film about the reinterpretation of doctrine that is itself reinterpreted for the audience by a woman invested in making Ann (affectionately called “Mother” by her worshippers) seem like the Second Coming. Regardless of what the filmmakers themselves believe – Fastvold was raised in a secular household – they present The Testament of Ann Lee as though it were an article of faith, making it particularly intoxicating.
In her childhood and early adult years, Ann is seen to have a complicated relationship with her body and beliefs, from her revulsion towards sex to the movie’s sudden flashes of visceral biblical imagery; brief inserts of Renaissance paintings depicting Eden feature particularly phallic snakes. As she molds her own outlook, she and her supportive brother William (Lewis Pullman) join the Shakers in their early days, attending closed-door meetings involving confessions in the form of song, and exorcising sin through writhing and rhythmic thumping. It’s a time of great religious upheaval; Methodism has just been born, the Church of England is entwined with state power and cruel penalties, and the Shakers worship in secret.
Seyfried sells Ann’s unshakable zeal with tremendous gusto, turning in a career-best performance.
After marrying fellow congregant Abraham (Christopher Abbott), Ann’s experimentations with sex and BDSM leave her spiritually unfulfilled. As the years go by, she bears four different children, all of whom die before the age of one, resulting in a pervading grief that informs the way she eventually reshapes the Shaker church. The film frames Ann’s mourning as not only a key to her rejection of carnal impulse, but the foundation of her self-proclaimed divinity. Her visions, she claims, come to her in moments of mania, like when she’s imprisoned for her beliefs, and likely ill and dehydrated. However, the film finds no need to employ a skeptical lens to its chronology. Instead, the camera buys into Lee’s theological stature, and the frame becomes enraptured by the Shakers’ ritualistic motions, capturing worshippers in alternating close-ups and panoramas as they beat their chests with open palms.
The songs and movements, drawn fromreal Shaker music, are acoustically addicting, even when the people singing don’t have particularly dulcet tones. Your mileage may vary, but this is part of the film’s commitment to naturalistic performance. Not every churchgoer would be a professional singer, though each member of the flock is fully devoted to Ann’s premonitions of a better world, free from tyranny and cruelty. It’s hard not to agree with her objective, even if the notion of lifelong celibacy seems strange or self-defeating.
The film’s ensemble is wonderfully fine-tuned, especially Tim Blake Nelson and Jamie Bogyo as elder churchgoers who – in a decision that feels almost countercultural despite the Shakers’ conservative constraints – yield to the word of a young woman. This faith eventually leads the Shakers across the Atlantic to the New World, where they remain largely apolitical, but invite the consequences of doing so during the Revolutionary War. However, As Ann’s convictions grow stronger, Abraham wavers, testing each of their commitments to the cause of an abstract utopia with no clear path beyond what Christ allegedly tells her.
Seyfried, however, sells Ann’s unshakable zeal with tremendous gusto, turning in a career-best performance as a woman who emerges from the throes of anguish so convinced of herself that she believes with every fiber of her being that her conception of the world and its suffering is the right one, and that everyone deserves a part of her, though they must partake willingly. However, if there’s a downside to the movie’s framing of Ann through Mary’s eyes, it’s that her conception as a holy figure yields a narrative in which she’s rarely tempted to stray from her path, offering little by way of dramatic tension as the film plays out.
There’s nothing especially cruel about the Shakers, other than how they excommunicate members who break their rules concerning fornication. That aside, being immersed in their world for two hours and change verges on liberating, especially during scenes of percussive prayer. The instrumentation by composer Daniel Blumberg remains largely faithful to what one might have heard at the time, but when characters like William get swept up in the word of Mother Ann – Pullman, in these moments, gives himself over to the film completely – the rules break, and the music cracks through space and time with electric guitars luring the Shakers into the future. That they don’t make it to the 19th century in one piece, owing to violent eruptions, feels incredibly tragic by the end.
Want to swap your bulky gaming headset for something a little more compact and comfortable? Best Buy just dropped the price of the SteelSeries Arctis GameBuds to a new low, beating Black Friday and Cyber Monday sales. Today only, you can grab our favorite gaming earbuds for just $119.99. That’s an epic $80 in savings. And if you happen to live near a Best Buy that has the earbuds in stock, you could potentially get them today to have under the tree Christmas morning. It’s an awesome last-minute gift any gamer will love.
40% Off SteelSeries Arctis GameBuds
Gaming earbuds might not get as much hype as top gaming headsets. Still, there’s a case to be made for these ultra-portable and versatile alternatives, especially for gamers who like to play on the go. The SteelSeries Arctis GameBuds are the best option, and work great whether you’re connecting via Bluetooth 5.3 to your phone or opting to use the reliable low-latency USB-C dongle when playing on your PS5, Switch, PC, or gaming PC handheld. That dongle is what puts these earbuds in a completely different realm from non-dedicated gaming options. Oh, and the sound isn’t too shabby either.
The SteelSeries Arctis GameBuds feature 6mm neodymium magnetic drivers ready to pump out well-balanced sound and even simulate bass. With ANC baked in, you can focus on the action rather than outside distractions, while spatial audio delivers directional cues to give you a leg up on opponents. If you’re not a fan of the out-of-the-box sound, the earbuds are loaded with over 100 different EQ presets, which can be easily adjusted based on the types of games you play using either the SteelSeries mobile app or PC software.
Comfort is key, no matter what gaming headset you use, and the SteelSeries Arctis GameBuds don’t disappoint. These tiny earbuds don’t add any pressure to your ears, and instead rest securely with three different eartip size options to choose from. Plus, the 10-hour battery life with 40 additional hours from the case is solid. There’s a reason IGN expert Michael Higham stated, “few earbuds are able to cover every base as competently as the SteelSeries GameBuds,” in his review of the SteelSeries Arctis GameBuds.
Danielle is a Tech freelance writer based in Los Angeles who spends her free time creating videos and geeking out over music history.
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