Amazon's sale on a selection of digital Nintendo Switch games has been great for those hoping to stock up on new options for their digital library. Xenoblade Chronicles X: Definitive Edition is one of the many deals from this sale that stood out to us, but not just for the fact its Switch version is on sale for $39.99. If you've been hoping to add it to your Switch 2 library, this Amazon deal can actually save you cash there, too.

Buying the digital Switch 2 edition of Xenoblade Chronicles X: Definitive Edition from the Nintendo eShop will cost you $64.99. However, if you buy the digital edition for the original Switch through this Amazon deal and then purchase the Nintendo Switch 2 Edition Upgrade Pack from the eShop for $4.99, that'll set you back about $45 instead. That's roughly $20 in savings, so why not take this opportunity to upgrade for less if you've wanted Xenoblade Chronicles X for Nintendo's latest console?

Step 1: Buy Xenoblade Chronicles X: Definitive Edition for Switch

Ubisoft boss Yves Guillemot has been questioned over the future of his company — and his own position in it — as part of a wide-ranging interview that also confirmed multiple Far Cry titles are in the works.

Speaking to Variety, Guillemot was quizzed on his plans for Ubisoft following its recent company restructure and ongoing job losses (with another 40 roles confirmed gone just overnight).

There were questions, too, of his personal response to recent staff strikes that sparked fresh calls for his resignation, and to the persistent grumbles surrounding the appointment of his son Charlie Guillemot as co-CEO of Vantage Studios, the company division now overseeing Ubisoft's most prized franchises, including Far Cry and Assassin's Creed.

"On Far Cry, anticipation is high, and we currently have two very promising projects in development," Guillemot said, without providing further detail. The franchise's last title, Far Cry 6, launched in 2021. Previous reporting has suggested that the next entry will offer a more radical upgrade to the series' usual formula.

On Assassin's Creed, Guillemot noted the company had "several titles" in development, comprised of both single-player and multiplayer experiences. Back in 2022, Ubisoft announced a raft of upcoming games including the now-launched Assassin's Creed Shadows, the witchcraft-inspired Assassin's Creed: Hexe (another single-player blockbuster) and Invictus (a multiplayer game). The company is also widely-expected to announce its long-awaited Black Flag remake soon.

"Ubisoft was created as a family company, and our strong heritage helps us take a long-term view, prioritizing sustainable growth, creative ambition, and continuity over short-term cycles," Guillemot said when asked about the accusations of nepotism that surrounded Vantage Studios' announcement. "This perspective guides our decisions and helps us build franchises, teams, and strategies that endure for decades.

"I strongly believe that Christophe Derennes and Charlie are the right leaders as Co-CEOs of Vantage Studios. They bring complementary strengths and experience that make them well-suited for the role. Their appointment was based on their skills, track record, and fit for the role."

Asked about the recently-scrapped Prince of Persia: Sands of Time Remake, Guillemot did not provide further detail when asked how far long the project was. Various development teams spent half a decade working on the project, and an actress believed to have been playing one of its lead characters said she had subsequently lost three years of work.

"I fully understand the legitimate concerns of our teams in France and around the world," Guillemot continued, when asked how Ubisoft was addressing employee concerns, particularly around staff cuts and welfare. Guillemot was also asked for a response to calls for him to resign — something he did not directly address.

"Ubisoft is going through a major phase of transformation, affecting our organization, operations, and culture. Changes of this scale naturally raise questions and create tension, particularly when they impact people's routines, and I recognize that. My commitment is to listen, lead responsibly, and keep our teams engaged. At the same time, we can’t ignore that we are part of an industry that is more competitive and demanding than ever. Delivering at the level of quality and ambition our players expect requires strong alignment, speed of execution, and close collaboration. The decisions we are making are guided by that reality.

"My main focus areas now are our transformation," he concluded, "ensuring Ubisoft's long-term financial sustainability, and delivering games at the highest standard."

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

It was an understandably quiet January in the U.S. games market, with very few new releases and a bit of a comedown from a busy holiday season leaving Call of Duty: Black Ops 7 again the best-selling game of the month, and the PlayStation 5 on top for consoles.

The PS5 led hardware in both unit and dollar sales, with the Nintendo Switch 2 taking second in both, according to analysis shared by Circana senior director and analyst Mat Piscatella. Overall hardware spending was up 16% year-over-year, with an increase in Switch 2 spending (admittedly an increase over nothing, as the Switch 2 wasn't out last year) offsetting declines in spending on PS5 (down 17%), Xbox Series (down 27%) and Switch 1 (down a whopping but understandable 79%). Accessories spending was down 5% to $185 million.

In content, spending up was up 3% year-over-year to $4.3 billion, largely driven by a 23% increase in subscription spending. Call of Duty: Black Ops 7 was once again the best-selling game of the month, followed by NBA 2K26 again in the No.2 spot, and Madden NFL 26 rising from No.4 last month to No.3 in January. Battlefield 6, last month's No.3, dropped to No. 5 in January.

The only new game entering the top 20 for January was Code Vein II, which came in at No. 11. We did see Final Fantasy 7: Remake leap from No.225 last month to No.9 for January, thanks to its Xbox Series and Nintendo Switch 2 releases. Fallout 4 also made a big jump from No.68 to No.20, possibly thanks both to Season 2 of the Fallout TV show coinciding with a major drop in price on Steam at the end of the month.

Additionally, Piscatella tells IGN that outside the top 20, both Fable Anniversary and Animal Crossing: New Horizons saw significant sales bumps. In the former's case, this was thanks to the new trailer for the upcoming Fable game, and in the latter's, due to the DLC and Switch 2 release.

Overall, total gaming spending reached $4.7 billion, up 3% year-over-year. Not exactly a thrilling start to 2026, but when has January ever been an explosive month for games?

January 2026 U.S. Top 20 Best-Selling Games:

1. Call of Duty: Black Ops 7
2. NBA 2K26
3. Madden NFL 26
4. Minecraft*
5. Battlefield 6
6. EA Sports FC 26
7. Grand Theft Auto V
8. Red Dead Redemption II
9. Final Fantasy VII: Remake
10. Forza Horizon 5
11. Code Vein II (NEW)
12. Ghost of Yotei
13. Kingdom Come: Deliverance II
14. EA Sports College Football 26
15. Helldivers II
16. Pokemon Legends: Z-A*
17. Split Fiction
18. Elden Ring
19. Flight Simulator 2024
20. Fallout 4

* Indicates that some or all digital sales are not included in Circana's data. Some publishers, including Nintendo, do not share certain digital data for this report.

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

Spoilers follow for Strip Law on Netflix, which debuts on February 20.

13 years ago, Adult Swim launched an animated series that would change the game – Rick and Morty, which became a cultural behemoth and redefined what adult animation can do. And while there have been plenty of series before and since that have inspired and been inspired, respectively, by the now iconic show, Netflix’s Strip Law is the first adult animated comedy series since the debut of Rick and Morty that feels like it’s really doing something fresh and new, and could be as impactful as the adventures of that famous duo.

To be 100% clear, Rick and Morty and Strip Law are two extremely different programs. The former is a riff on the sci-fi classic Back to the Future that pairs a drunken scientist with his relatively normal (though extremely horny) grandson to go on adventures through time and space, while ultimately being a deep dive into sadness, grief, and an exploration of healing and self through family. Meanwhile, Strip Law is about lawyers in Las Vegas.

OK, that isn’t fair to how revelatory Strip Law feels to watch (the full 10-episode season was provided to critics). The show focuses on Lincoln Gumb (Adam Scott), the son of the most popular lawyer in Vegas; after she dies, Lincoln is fired by his mother’s long-time partner, Steve Nichols (Keith David). Lincoln has to make it on his own now, but the problem is that he plays things by the book, and Vegas – as depicted through the lens of former Late Show with Stephen Colbert writer and showrunner Cullen Crawford – is a surreal wonderland/wasteland where almost anything can happen at any time, and the populace values ads and spectacle far more than the letter of the law.

Gumb teams up with a street magician named Sheila Flambé (Abbott Elementary's Janelle James), who provides the pizazz while Gumb locks down the actual trials…at least, as best as he can. It’s a classic sitcom setup, but it’s really just an excuse to go hog wild with the most imaginative, demented series of episodes that have hit TV since Rick and Morty premiered well over a decade ago.

At least part of that evolution can be chalked up to the difference in references, and while Strip Law may also call to mind reference-humor-heavy shows like Family Guy, what separates Strip Law from the pack is that the points of origin lift up the characters rather than merely existing to remind the audience of moments they remember. Basically, it’s the difference between satire and parody; satire (among other things) is using references to make a point, while parody is merely presenting them as is. While Rick and Morty was very pointedly riffing on movies of the ’80s, the touchstones for Strip Law are moved at least 10 to 20 years up and squarely in the late ’90s and early 2000s.

That’s made incredibly clear in the first episode, when a Vegas montage is hilariously set to “Cleveland Rocks,” the theme song from The Drew Carey Show; Strip Law knows this, calls it out, and loves it. Strip Law may be the first TV show that is specifically aimed at those of us who have been irrevocably brain-poisoned by social media. Your mileage may vary about whether this is a good or bad thing, but the breakneck pace of the series is the equivalent of doomscrolling through vintage Twitter while taking a Buzzfeed quiz, or perhaps browsing Vine a half-hour at a time instead of six seconds at a time.

There’s a more important point of comparison between Strip Law and Rick and Morty: You instantly know who these characters are and what they want. More often than not, comedies take a while to find their footing. You need to introduce the characters, find their games (i.e., recurring bits and point of view), and then the writing staff needs to realize they don’t quite work and tweak accordingly. Animated shows, by working years ahead, don’t have the luxury of seeing how an audience responds to their actors and pivoting; instead, this often takes the form of providing a supporting cast and recurring characters to bump up the main cast. Think about the citizens of Springfield in The Simpsons; sure, the title family are the main event, but without Moe, Mr. Burns, Ralph Wiggum, and all the rest, the show wouldn’t work.

Rick and Morty, meanwhile, came out of the gate clean and clear with a clarity of purpose and understanding of what made its main characters tick. The rest of the family may have taken a moment to slide into their games, and arguably the show didn’t kick things up to the next level until the sixth episode of Season 1 (“Rick Potion No. 9”), but from the first moment Rick blathered on about “a hundred years Rick and Morty” while Morty convulsed in the driveway, you knew what the show was about.

Similarly, Strip Law is crystal clear from the get-go, from the relationship between Gumb and Flambé, to supporting characters at the firm like Lincoln’s weight-lifting niece/investigator, Irene (Aimee Garcia), and the requisite disgusting old man, Glem Blorchman (Stephen Root). Each and every character on the show hits the ground running, and thanks to an instantly populated Las Vegas full of characters like a stripper named Lunch Meat and various judges who would rather celebrate Halloween or win a world’s record for most cases judged, it’s clear that Strip Law looked at The Simpsons, Rick and Morty, and other programs, figured out what worked, put that in a blender, and remarkably came out with one of those milkshakes that has a cake and candy on top instead of disgusting sludge.

Even the Rick and Morty comparison – though it will likely be called out the most – isn’t quite right. Strip Law is more akin to classic Adult Swim series like Harvey Birdman, Attorney at Law or Space Ghost Coast to Coast. It has an ‘anything goes’ aesthetic that still sits within guardrails that may not be visible but are clearly there. The pace is more packed, and there’s less of the “you’re at home on a Saturday night past midnight and extremely high” vibe that most Adult Swim series go for, but the idea of setting the rules merely so they can break them is omnipresent.

Strip Law is a show that is aware of itself as a TV show, hitting the beats while throwing everything at the wall…with most of it sticking. Episodes feature plots like putting the characters in a virtual HR seminar hosted by an AI amalgamation of the Rat Pack while the rest of the town is rioting over an update of the horny claymation characters, the Hot Dates. Yet, even with all of that going on, it’s never overwhelming, because Crawford and company remember this needs to first be about Gumb, Flambé, and the other staff of the law firm. Even when the show is going for the throat with an episode about the emptiness of religious shows in Vegas mixed with the nihilism of faith-based filmmaking (including an absolutely wild live-action trailer), it’s surprisingly respectful in its exploration, and continues to focus on what this means for Gumb and his co-workers.

In essence, what Strip Law is doing isn’t reinventing the wheel so much as discovering a new, exciting voice (tire?) in animated comedy. Cullen Crawford gives Strip Law a different pace and tone while also delivering what audiences have craved since the beginning of animation: good characters, wild situations, and a way of using the form to the height of its abilities.

A hundred years Strip Law!