Here's hoping you didn't have anything else planned for your weekend, as Nintendo has announced a surprise Super Mario Galaxy Movie Nintendo Direct for this coming Sunday.
A weekend Nintendo Direct is pretty much unheard of, but the company will hold one this Sunday, January 25 at 6am Pacific time to reveal new details of its upcoming animated movie sequel.
More to follow...
Tom Phillips is IGN's News Editor. You can reach Tom at tom_phillips@ign.com or find him on Bluesky @tomphillipseg.bsky.social
Ark Nova, a long, complex and richly strategic game of zoo-building and conservation, took board gaming by storm after its release in 2021. When a game gets that popular, while having big barriers to new players, a simplified spin-off is almost guaranteed – and now we have Sanctuary from the same designer. It has the same widely appealing theme and keeps some of the innovative mechanisms of its parent, but how much of its strategic clout can it retain?
What’s in the Box
Sanctuary comes in a big box with considerable heft. When you slide the lid off the reason becomes clear: it contains sheet after sheet of large, punch out, cardboard hexes. Like Ark Nova, these are all illustrated with photos of animals, zoo staff, or pertinent buildings and landscapes. Photo-art in the obviously artificial medium of board gaming can look odd but here it works well, re-enforcing the feeling that you’re building something real and tangible.
Most of the hexes are peppered with confusing icons which initially appear very mysterious but, once you’ve internalized the game rules, you’ll appreciate having all the information on the game state front and center. The game thoughtfully includes a plastic rack for each player to hold their “hand” of hex tiles during play.
Aside from the hex tiles there’s a bunch of other cardboard to pop out, not only tokens but also action “cards” for each player, which are made of thick cardboard rather than playing-card stock. There are two central boards, one for tracking objectives and another for holding the market of tiles which requires a little assembly, as the edges fold in and stick down to keep the tiles in place. Finally, there’s a two-sided hex map for each player to build their zoo on. Unlike the parent game, everyone here uses the same map during play, one side of the board or the other.
Rules and How It Plays
You can get some sense of how much more simple Sanctuary is than Ark Nova simply by comparing rulebooks, which otherwise have similar layouts and fonts. Ark Nova weighs in at 20 pages: Sanctuary a modest eight, with plenty of examples. It jettisons the bigger game’s separation of animals and enclosures, making everything a single tile that you lay onto the hex board representing your zoo.
One thing it keeps, however, is the notion of action card strength. You have four different actions arranged beneath your zoo board in a ranking from weakest to strongest. When you use one, it operates at a “level” equal to its current position in the queue. Then it moves into the weakest slot and the other cards all slide up one rank. All the actions allow you to place tiles into your zoo: three of them are for animals of different habitats while the fourth is for “projects”, which include things like specialist researchers, conservation efforts and the like. All the matching tiles have a strength requirement and the action card you use to lay it must be at that level or higher.
Many tiles have additional requirements. The most common is for arrows on the tile edge to line up with empty spaces: you start with a couple in your zoo map but you can add more by playing tiles from your hand face-down. Others need to be adjacent to tiles already in your zoo that carry certain icons. All have at least one icon representing an animal type, a habitat or a continent. Most tiles improve the appeal of your zoo, which is essentially your victory point tally. For many that’s a fixed value, while others depend on how many of a particular icon you have adjacent to that tile or on your map as a whole.
You can get bonus appeal by satisfying conservation objectives. Five are drawn randomly for each game, matching particular animal type and continent icons. To claim one you must simply have the matching number of icons in your zoo; the more icons, the more points. You can also spend conservation markers, in place of a missing icon, making these tokens very powerful. They can be obtained by getting matching male and female animal tiles of the same species next to each other on your map, or from certain project tiles.
These are the parameters of the puzzle that Sanctuary lays before you, fiendishly pulling you in multiple directions at once.
These are the parameters of the puzzle that Sanctuary lays before you, fiendishly pulling you in multiple directions at once. Many tiles reward you for specializing in particular icons. Conservation bonuses, meanwhile, reward you for diversity. Your challenge is to try and decide how, given the limitation of what tiles you pick up and the actions at your disposal, you’re going to balance this problem to eke out the highest score.
To complicate matters, each level of conservation bonus can only be claimed once. So if you claim one with two bird icons, say, and then get more birds in your zoo later, you can’t then go back and claim the bigger-scoring four- or five-icon rewards via birds later on. You need to have four or five of a different animal type or make up the difference with those precious conservation tokens. The whole thing is a mess of competing priorities that can make the game surprisingly tense for what is essentially an un-interactive game where you’re focused on building out your own map.
Because you’re being asked to do so many different things at once, how you pick up and hold tiles is very important. At the start of your turn you have to take one tile from the six in the display. However, you can only take that tile from the queue position up to the current level of your projects action card, making this one particularly important. After that you take an “official” action which involves either using a card to play tiles or you can take more tiles. Animal actions used this way give you two random tiles, while the projects action lets you take one tile of your choice from the display.
Again, given that the game is essentially a race, this results in surprising tension. Play ends when someone either fills their map or collects all five conservation bonuses, both of which are reliant on playing tiles. So missing a turn to take more tiles feels like you’re falling behind. But it’s always so tempting! There are often hexes available that you desperately want because their icons fit with the conservation objectives, or others in your zoo, or even male-female animal pairs but the more you collect them in hope of making combos, the further you risk getting behind in the race for points. The fact you can only hold six tiles at once adds a delightfully frustrating element to these decisions.
Your action order is the final plank in the game’s puzzle. Often, you’ll want to play a given tile and you won’t have the requisite action at a high enough level. So you have to muddle through potentially laying and taking less interesting tiles to get where you want to be. Forward planning your action chains to get cards to the required levels becomes a hallmark of experience when you’re selecting tiles from the display, muddied by the desire to keep projects high to maximize your choices. Cards can also be levelled up to get higher action levels by fulfilling four different criteria, such as claiming your first spot on the conservation track. As is typical for the game’s circular approach to strategy, fulfilling these is yet another competing priority to juggle.
There are times when all the different things going on become an active problem for the game, however. The need for tiles to support each other, and particularly the reward for animal gender pairs, can be frustratingly hard to fulfill if the tiles you want are simply not in the display when it’s your turn. As such, it works better at lower player counts: with five, especially, it feels overlong. The mechanisms also feel very abstract, especially compared to Ark Nova which at least presents an illusion of running a real zoo.
Once the game is finished, everyone has to tally up their points, which is an annoyingly time-consuming process. With the score offered by many tiles being dependent on many other tiles it takes a while to tot them up, and it’s very easy to make errors in what is often quite a tight game. While everyone is raring to know who won, the time and effort it takes to chalk up the scores has the unfortunate effect of deflating whatever excitement has built up during play, leading to the final result arriving as a bit of an anticlimax.
This article contains spoilers for various Ryan Murphy shows, including FX and Hulu’s new series, The Beauty.
Can anyone stop Ryan Murphy? Whatever you think qualitatively of the mega-producer’s creations, there was a time that he was at least reliably churning out hit after hit – controversial series that captured the zeitgeist like Nip/Tuck, Glee, and American Horror Story. But as his output has increased over time, the accompanying reaction has varied, both in terms of viewers as well as critical – and more importantly, fan – response. Basically, the hitmaker has started turning in more misses than hits, and given the goopy mess of FX and Hulu’s new comic book adaptation, The Beauty, it’s time for Murphy to take a step back, assess what he’s doing, and figure out once again how to make, if not good TV, at least watchable TV.
First, a word about Ryan Murphy shows…because they’re not all created equal. There was a time when Murphy was the man behind everything – creator, producer, writer, and director. He may have worked with partners, but his voice came through clear and true, starting with the 1999-2001 WB critical fave but short-lived Popular, to 2003-2010’s controversy-drawing FX plastic surgery drama, Nip/Tuck, co-starring the late, great Julian McMahon.
But it really wasn’t until 2009 that Murphy created what would elevate him to the lofty heights of TV greats like Shonda Rhimes, Norman Lear, and others. Fox’s Glee was a massive, culture-shifting hit that defined a generation of young TV viewers, created massive stars, and launched a world tour. Love it or hate it – it was impossible to avoid Glee. Murphy did it again in 2011 with American Horror Story, which was a bunch of insane nonsense that nevertheless hit like a lightning bolt with its dark turns for faves like Connie Britton and Dylan McDermott, an unhinged performance by Jessica Lange, and most importantly for the Glee crowd, relatively fresh-faced young performers to become obsessed with in Evan Peters and Taissa Farmiga.
That’s all Early Murphy™; a little over a decade into his storied career, things started to change. There were misses like the 2012 sitcom, The New Normal (which was canceled after one season), and Fox’s Scream Queens in 2015, although the horror comedy has seen a reappraisal in recent years thanks to performances by Glen Powell and Ariana Grande. And there were shows that worked, but could arguably be more attributed to Murphy’s collaborators than the man himself: American Crime Story, Feud, and Pose all counted Ryan Murphy as part of the team, but other voices came through, with Murphy clearly not the loudest one in the room.
At the same time, Murphy created the long-running Fox hit, 9-1-1, which launched in 2018 and later spun off into another hit, 9-1-1: Lone Star (2020-2025). From the outside, both shows felt Murphy’s influence, but seemed like the sort of procedurals that run themselves…even if the emergency crews sometimes deal with getting stuck in space or bee tornadoes, two Murphy touches if there ever were ones.
The biggest shift, and in some aspects the biggest mistake in Murphy’s career, was his 2018 deal with Netflix. It wasn’t perhaps a monetary mistake – Murphy netted $300 million from the deal – but going from weekly programming to the binge model not only changed the rhythm of his shows, but also stretched him too thin. To wit: In 2018 when the deal kicked off, Murphy had American Horror Story, American Crime Story, Feud, 9-1-1, and Pose, and was prepping more down the road. In the first decade of his career, he ran three shows that only briefly overlapped, but in the past decade, running up to this year’s The Beauty? 21 TV series, with at least two more on the way. Even for a super-producer like Murphy, one cannot sustain a consistent level of quality at that pace, particularly when one is pulling double, triple, and sometimes even quadruple duty on a series. That’s not even taking into account the movies, reality shows, and many public appearances Murphy has been involved in. There are high performers, and then there are people who are constantly on the brink of burnout; Murphy’s more recent output indicates the latter.
While not by any stretch of the imagination a complete picture of a career, take a look at the Rotten Tomatoes scores for Murphy’s shows. Other than The New Normal, in that pre-2018 period, all Ryan Murphy shows were in the “Fresh” portion, with Glee hitting a low of 70% and Pose a high of 98%. After 2018? The Politician came in rotten with 51%, Hollywood also rotten at 58%, with Ratched, Halston, and American Horror Story barely scraping by with 62-67% fresh. We won’t list every show Murphy has done, but at least on the inexact scale of Rotten Tomatoes, Murphy went from a pretty good hit ratio in his first decade to nearly 50/50 fresh versus rotten post-2018. On Rotten Tomatoes’ scale? That’s rotten. (The lone exception is Hulu’s Mid-Century Modern, which Murphy produced but did not create, write, or direct).
On Metacritic, which has a more focused critic base than Rotten Tomatoes’ wide berth and breaks things down more granularly, Murphy has a lifetime average career score of 62 out of 100. Earlier Murphy is almost exclusively in the green (aka positive), but since 2018, he’s mixed to negative, leading up to last year’s critical failure – the Kim Kardashian-starring Hulu series, All’s Fair.
There are high performers, and then there are people who are constantly on the brink of burnout; Murphy’s more recent output indicates the latter.
That’s all well and good, but what about viewers? There, Murphy has been more successful. On Nielsen’s independent rankings of streaming numbers, Netflix’s The Watcher hit number one, as did the One Flew Over The Cuckoo’s Nest prequel, Ratched, as well as both iterations of the controversial serial killer series, Monster, focusing on Jeffrey Dahmer and the Menendez Brothers. All’s Fair, meanwhile, matched its critical drubbing by not hitting the Nielsen Top 10, although it did hit in the Top 15 on Luminate’s rankings, and was picked up for a second season.
The fact of the matter is that Murphy does still know how to produce hits and cause debates – check out the furious arguments over Monster – but where fans and critics were often aligned on his past projects, more recent reactions have been all over the place, particularly when it comes to the abysmal response to All’s Fair. Murphy’s flair for pulp fun seems to have turned into a parade of “hey, I know that guy” as he combs through his rolodex for friends to hang out with. That has worked less and less on American Horror Story, with later seasons barely hitting the way earlier ones did, and the American Horror Stories anthology spin-off coming and going with hardly any discussion.
All of that brings us to The Beauty, a comic book adaptation in 11 episodes starring (once again) Evan Peters, Rebecca Hall, Anthony Ramos, Ashton Kutcher, and Jeremy Pope. While as of this writing we don’t know about the critical response or the viewership levels, it has all the hallmarks of a Murphy show: There’s an all-star cast (nearly every speaking role is a Murphy regular and/or supermodel); a pulpy premise (an STD causes people to grossly transform into their most beautiful selves and sometimes explode into bloody chunks); and the unerring support of his frequent collaborators, FX.
But without getting too far into spoilers for the season – it premieres with three episodes, then has a staggered release until a two-episode finale on March 4 – the show is barely coherent as a television series. The initial premise is quickly and rudely shoved to the side as the series gets distracted by other sci-fi concepts. Characters appear and disappear at random; some sections are full-on music videos; a flashback begins halfway through an episode, and then continues into the next episode. Coming from a man (that would be Murphy) who made his bones in weekly, episodic television, it’s wild to look back on (for example) Glee, one of the most unhinged shows ever created, as a bastion of good TV format versus whatever The Beauty is delivering on a weekly(ish) basis.
There’s every chance that The Beauty will be another Murphy success, or at least deliver on what FX and Hulu are looking for. It’s hard to deny that Bella Hadid exploding on the Paris police or Meghan Trainor getting thrown out a skyscraper window are the sort of scenes crafted for meme-able, TikTok-clippable moments, but – nothing against TikTok – that’s not a TV show. There is no arc to the series on an episodic basis, and definitely not to the season. The same can be said for All’s Fair or any number of recent seasons of American Horror Story that feel like Murphy is a dog chasing cars, looking to grab whatever shiny bumper catches his fancy next.
Maybe there isn’t that impetus – that young man’s drive to prove himself – that the now 60-year-old Murphy once had at the beginning of his career. At the New York Comic Con panel for The Beauty, Murphy opined pretty extensively about the good food they ate and nice boats they rode on while filming in Venice. If he’s in his Adam Sandler go-on-vacation-with-my-friends phase, and if his goal is to travel the world and have a nice time, well, good for him. There also may not be the monetary or viewership impetus, given everyone from Netflix to Disney keeps tossing money his way while the algorithm gets people watching. Perhaps he’s merely run out of things to say about the underdogs of Glee or the drag ball culture of Pose.
But for those of us who have been watching Murphy’s shows since the beginning of his career, they’ve gone from someone saying, “hey, you wanna see a car crash?” and then purposefully ramming their car into the wall, to him seemingly sitting in the backseat and letting the Cybertruck take him where it wants to go, admiring the view along the way. That’s not sustainable, and it’s not the way to have a career that stands the test of time. Murphy’s oeuvre has always been characterized by wild swings and by too much stuff, but at least with the structure of a 42-minute drama punctuated by commercials, some of those baser instincts were reined in by default. The streaming era has eroded that, leading to some awful television that just does not work.
Will Murphy heed this advice, take a year or two off, and come back with something truly great? Probably not, but one can hope. And that’s what we missed from Glee.
Steve Downes, the actor behind Master chief’s iconic voice, has said deceptive AI reproductions of his voice “cross a line that gets into an area I am uncomfortable with” — and he wants it to stop.
Speaking in an AMA on his YouTube channel, Downes acknowledged the inevitability of AI, and even described some fan-made projects as “really cool,” but hit out at unauthorized use of his voice.
“One of the things that can be overwhelming when it comes to attention from fans is when AI gets involved,” he said. “A lot of it is harmless I suppose, but some of it cannot be harmless. I've been very vocal about my feelings about the use of artificial intelligence, which on the one hand is inevitable and has many positive effects on not only show business but humanity in general, but it can also be a detriment. It can also be something that deprives the actor of his work.
“I've heard some things online in terms of AI and the reproduction of my voice that sounds like my voice that… like I said, most of the stuff I've seen is pretty harmless, but it can be not that way real quick. So, I'm not a proponent. I don't like it. I would prefer that it not be done.
“There's a lot of fan-made projects out there that are really cool, that are done just from the heart. But when you get to the AI part and deceiving somebody into thinking, in my case, that these are lines that I actually spoke when they're not, that's when we cross a line that gets into an area that I am uncomfortable with. I'll go on the record with that.”
In the absence of significant law reform, AI deepfakes have exploded alongside the emergence of generative AI and its increasing accuracy and availability. And Downes is certainly not alone in complaining about how deceptive it can be for video game voice actors.
There have been a number of high-profile cases in which celebrities have complained publicly about fake adverts. In 2023, Tom Hanks warned fans that an AI version of his likeness was being used without his consent in an online advert for a dental plan. In 2024, Morgan Freeman thanked fans who alerted him to AI-generated imitations of his voice online after a series of videos created by someone posing as his niece went viral.
And last year, Jamie Lee Curtis was forced to appeal to Meta CEO Mark Zuckerberg in an Instagram post because she couldn’t get the company to pull an AI-generated ad that featured her likeness for “some bullshit that I didn’t authorize, agree to or endorse.”
Photo by Daniel Boczarski/Getty Images.
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.
BioWare is slowly beginning to build itself back up following the downsizing it experienced in the wake of Dragon Age: The Veilguard, with hiring now underway for a new senior role on Mass Effect 5.
Now, as work on Mass Effect 5 quietly continues, BioWare is hiring a Production Director for the game who will report directly into the project's overall boss, BioWare and Mass Effect franchise veteran Mike Gamble.
"Hi, I'm hiring a very important senior leadership role," Gamble wrote on social media. "They'll report to me and it's gonna be awesome." A job description notes that the role will involve partnering with Mass Effect 5's "creative leadership, studio teams, and internal and external partners to champion the game's vision and ensure its execution at the highest quality bar."
"Since 1995, BioWare has been dedicated to creating games defined by rich storytelling, unforgettable characters, and expansive worlds," the job description continues. "Over the years, the studio has earned recognition for developing some of the industry's most critically acclaimed titles. Today, BioWare is building on that legacy with the development of the next Mass Effect game, continuing one of the highest-rated and most celebrated series in video game history."
BioWare first announced plans to make Mass Effect 5 back in 2020 — a date that now feels a lifetime ago — in part to simply reassure fans that it remained committed to the franchise. In reality, though, the company was still busy devoting most of its development efforts into getting Dragon Age: The Veilguard done and out the door.
During this time, BioWare is believed to have had only a small team working on its next Mass Effect game concept, while the bulk of the studio was busy elsewhere. With The Veilguard finally launched in late 2024, Mass Effect 5 became the sole focus of the studio — albeit in its newly-slimmed down form.
Gamble previously confirmed that Mass Effect 5 was being led by a team of fellow Mass Effect veterans who served key roles on the franchise's original three games, including art director Derek Watts, creative director Parrish Ley, senior level designer and Normandy programmer Dusty Everman, and game director Preston Watmaniuk.
The leadership team behind Dragon Age: The Veilguard, including its lead writer, senior systems designer, various editors, producer and both its co-directors, Corinne Busche and John Epler, are all no longer at the company following the studio's downsizing, meanwhile.
Consecutive years have seen BioWare release snippets of concept art and other brief teasers for the game, which is expected to be set hundreds of years after the end of the original Mass Effect trilogy and feature at least one returning character. At the same time, pre-production has also begun on Amazon Prime's Mass Effect TV series that will also be set after the events of the trilogy.
"Let's start by setting the record straight: the next Mass Effect game is in development, and EA and BioWare remain committed to telling more stories in this universe," Gamble wrote in a blog post last November. "The truth is, the last few years have been an incredibly busy time at BioWare," Gamble continued today. "But currently, the team is heads-down and focused exclusively on Mass Effect. We have a lot of universe to cover, lots of features to build, and lots of romances to figure out."
BioWare has given no indication of when Mass Effect 5 will arrive, though here's hoping 2026 brings a better sense of the company's progress as development ramps up.
Tom Phillips is IGN's News Editor. You can reach Tom at tom_phillips@ign.com or find him on Bluesky @tomphillipseg.bsky.social
Remember those mockumentary-style interview sections in the original reveal trailer for Fable? Well, those will actually be in the game, and they’re inspired by an unlikely source — The Office.
Fable is a distinctly British video game series, and one where comedy has always been allowed to thrive. Both deadpan and absurdist British humor were at the centre of Lionhead’s original trilogy, and it's great to see that ethos carrying forward into Playground Games’ 2026 reboot, which we recently got an extended look at during January’s Xbox Developer Direct.
Speaking to Xbox Wire, Playground founder and general manager Ralph Fulton mentioned a handful of classic 21st-century British sitcoms as touchstones for Fable’s tone. “We were inspired by the incredibly rich variety of British comedies that have been around over the last 20 years, like Peep Show, The IT Crowd and so many others," Fulton revealed. “We started with The Office, which again started out as quintessentially British, but also travels really, really well.”
“Not just that IP, but a lot of the techniques and the devices that it’s popularised, you know. It’s that really grounded, awkward style of humour which really appeals to us. And the actors who have been in a lot of these shows — and indeed some of whom are in our game — they’re known all over the world.”
It isn’t just the style of humor from these comedies that Playground is taking inspiration from, but filmmaking techniques, too. “The other cool thing about The Office is something we’ve kind of nicked," Fulton revealed. “You’ve maybe seen in our trailers that we have a sort of mockumentary interview style. I think a lot of people assume we just did that for those trailers, but it’s actually a device we use throughout the game.”
“I’ve never seen it in games before," Fulton continued. "But it allows you a way to really neatly tell a joke or drop a little bit of character detail in a way that would feel really clunky in a dialogue, but suddenly feels entirely natural when you do it to ‘camera’.”
This can be seen in the 2024 Xbox Games Showcase trailer for Fable, above, in which Peep Show’s Matt King speaks to us straight down the lens as Humphrey the Golden, Guildmaster of Albion. It’s a sitcom technique pioneered by Ricky Gervais and Stephen Merchant in the original BBC version of The Office, before, obviously, making its way overseas for the likes of Pam and Jim to take full advantage of with their knowing looks to camera in its U.S. edition. This mockumentary-style has spawned dozens of similar TV shows since, but, as Fulton said, it's something we’ve never really seen in a game before, which makes for an intriguing proposition.
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.
Tom Holland's return in Spider-Man: Brand New Day will feature a "tonal shift" from the actors' first trilogy, director Destin Daniel Cretton has said.
This year's long-awaited new Spider-Man film, Holland's fourth, will pick up some time after the events of 2021's Spider-Man: No Way Home, with Peter Parker's secret identity forgotten by the wider world — separating him from past girlfriend MJ (Zendaya) and best friend Ned (Jacob Batalon). At the same time, Holland will have to deal with a new threat and team up with gun-toting Marvel TV action hero Frank Castle/The Punisher (Jon Bernthal).
Discussing the movie with ComicBook this week, Cretton said he had been "really excited" to take on this next chapter of Tom Holland's Spider-Man story as there was agreement among Marvel boss Kevin Feige, Sony exec Amy Pascal, and Holland himself "to do something different."
"Of course it's still the Spider-Man that everybody loves," Cretton said. "But this is a new chapter in his life, and that tonal shift was something that was really exciting to me and felt really different. It was an extremely gratifying experience."
In the past, Feige has mentioned that Brand New Day will retain the franchise's usual film rating — there's no suggestion that Tom Holland's Spider-Man is suddenly getting the R-movie treatment akin to Deadpool & Wolverine — meaning that Frank Castle's lethal antics would have to fit in.
Still, Cretton seems to be suggesting here that Brand New Day will feature a more mature tone — perhaps by the very nature of Holland's Spider-Man no longer being a student, and forced to fend for himself without his Aunt May.
That said, we do know that Mark Ruffalo will be back as Bruce Banner/The Hulk in the movie, while Better Call Saul's Michael Mando will reprise his role as Scorpion. A big action sequence was previously filmed in the Scottish city of Glasgow, standing in for New York, which saw Holland riding around on top of a tank.
Battlefield 6 ended 2025 as the best-selling game in the U.S., beating its first-person shooter rival Call of Duty: Black Ops 7, which ended down in fifth place. Black Ops 6, which also launched day one on Game Pass, was 2024’s number one best-selling game in the U.S.
According to sales data from Circana, EA’s Battlefield 6 finished as 2025’s best-selling video game in tracked full game dollar sales. It's the first time a Battlefield game has outsold a Call of Duty game. Meanwhile, Battlefield 6 ranked first on both Xbox and the aggregated PC storefronts for the year while placing second on PlayStation behind only NBA 2K26.
Battlefield 6 had a massive launch in October 2025, breaking franchise records by selling over 7 million copies in its first three days and becoming the best-selling game of 2025 by revenue. This launch, coupled with the release of the hugely popular extraction shooter, Arc Raiders, put enormous pressure on Black Ops 7, which has disappointed in sales terms. Indeed, Black Ops 7’s fifth place finish is the lowest for a mainline Call of Duty game since Call of Duty: World at War ended up at number six in 2008.
There are, however, a number of factors we should take into consideration when analyzing Black Ops 7’s performance. The number one is that Microsoft, which owns Activision Blizzard, has yet to announce any sales number for the game, in the U.S. or globally, so we’re lacking that important data point.
We do know that Black Ops 7 (November 14) launched after Battlefield 6 (October 10), so had fewer days to count sales for the year. And then there’s the Game Pass factor. As a Microsoft game, Black Ops 7 launched day one on Game Pass, where it has trended high in terms of engagement since release. It is thought that Call of Duty’s day one release on Microsoft’s subscription service impacts sales, at the least on Xbox consoles, and perhaps also on PC.
And Black Ops 7 finished the year relatively strong. It was December’s best-selling game across physical and tracked digital spending, Circana said. 2025 marked the seventh consecutive year a Call of Duty game has been December’s best seller, with Super Smash Bros. Ultimate topping the chart in December 2018.
But there can be no doubting Black Ops 7’s sales struggle compared to 2024’s Black Ops 6, a fact that's reflected in everything from European sales figures to Activision's own admissions. Following the release of Black Ops 7, Activision announced significant changes to the Call of Duty franchise, including promising never to release back to back games in the same sub-brand (Modern Warfare, Black Ops). Activision released Modern Warfare 2 in 2022, Modern Warfare 3 in 2023, Black Ops 6 in 2024, and Black Ops 7 in 2025.
Whatever your take on the Call of Duty vs Battlefield sales war, Epic’s Fortnite led the year in total active users across both PlayStation and Xbox platforms, according to Circana’s Player
Engagement Tracker, with over half of all active users of the two ecosystems engaging with Fortnite at least once.
Roblox was 2025’s leading publisher in digital at retail spending (including gift cards, code on receipts, etc.) for both December and the 2025 year. Digital at retail spending on Roblox during 2025 increased by 16% compared to 2024.
Activision is expected to unveil this year’s Call of Duty game in the summer. Unlike last year, it will have the behemoth that is GTA 6 to contend with.
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.
Connexion
