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

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. 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.

Where to Buy

• Get it at Amazon
• Get it at Capstone Games
• Get it at Game Nerdz

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.

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.

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.

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.

The veteran RPG studio saw numerous staff members depart following the launch of its most recent Dragon Age game, which failed to meet publisher EA's sales expectations. This process came after the decision was made not to develop any further content for Dragon Age: The Veilguard, and while Mass Effect 5 officially remains in the pre-production phase.

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.

You can check out our own big interview with Ralph Fulton about Fable here, as well as learning about how you can marry each and every one of its 1,000 NPCs.

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.

Officially, little is known of Spider-Man: Brand New Day's story, which Marvel and Sony have attempted to keep under wraps as much as possible. Indeed, Stranger Things actress Sadie Sink has said she's been kept wrapped up in a large coat "like a penguin" to hide her costume from fans during shooting, so mysterious is her role.

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.

With four trailers (that aren't actually trailers) already released for this December's Avengers: Doomsday, fans are hoping to see something more of Spider-Man: Brand New Day soon — ahead of its launch in theaters on July 31. Just before Christmas, what appeared to be grainy footage of an upcoming Spider-Man: Brand New Day trailer hit the internet, featuring dialogue that positioned Sink's character as a villain — initially, at least.

"You're a mess, Spider-Man," Sink's unnamed character can be heard to say. "Don't get in my way. Otherwise, it won't just be your friends who don't remember who Peter Parker is." Plenty of speculation exists around who Sink may be playing, though perhaps our biggest clue is the report that her character will be returning for Avengers: Secret Wars, something that rules out her being a one-and-done villain.

Image credit: MEGA/GC Images.

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

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.

And then, earlier this month, former Activision boss Bobby Kotick claimed Call of Duty sales were down 60% year-on-year — although he provided no evidence to back up his claim and neither Microsoft nor Activision Blizzard have commented in response.

As for Battlefield 6, it's had struggles of its own since its explosive launch, with Season 2 delayed and an apparent loss of moment on Steam.

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.

Magic: The Gathering has kicked off 2026 with a return to Lorwyn, and Lorwyn Eclipsed might be the most excited I've seen the community since, well, Edge of Eternities (the last Universes Within set).

It's a trip back to a simpler time, without bagels (Spider-Man), bending (Avatar), or the Buster Sword (Final Fantasy) - just fantasy creatures throwing spells at each other all day long.

Not only is it the first set of a packed year, but it marks big changes to the product lineup. Theme decks are back for Standard play, while a new Draft Night boxed product encourages players to, well, draft cards to build their decks. Then there's our first Commander decks since Edge of Eternities, and both look pretty great, actually.

Here’s everything on offer (including some brand new discounts to consider), and where you can find it now that the new set is regularly available. Just be warned that prices are still all over the place, and many products are running low on stock even on release day.

Play Boosters

Bundle

Commander Decks

After no Commander Decks for Marvel’s Spider-Man or Avatar: The Last Airbender, they’re back with Lorwyn Eclipsed.

Collector Boosters

Draft Night Box

Theme Decks

UK Preorders

Lloyd Coombes is an experienced freelancer in tech, gaming and fitness seen at Polygon, Eurogamer, Macworld, TechRadar and many more. He's a big fan of Magic: The Gathering and other collectible card games, much to his wife's dismay.

Remedy Entertainment has spoken out to defend its publishing deal for Alan Wake 2, which saw the game launch on PC exclusively via the Epic Games Store. More than two years later, there's still no sign of it coming to rival storefront Steam.

Released in October 2023, Alan Wake 2 took a year to eventually begin generating royalties for Remedy, after ticking over the 2 million sales mark. Now, a debate has been sparked over its sales — which would undoubtedly be higher if it had also arrived on Steam, even if the game only exists because of Epic Games cash — as well as the benefits of storefront exclusives.

Discussion was sparked on social media by a lengthy thread from Michael Douse, director of publishing at Baldur's Gate 3 and Divinity studio Larian. "I understand Epic entirely funded Alan Wake 2 but this altruistic pro-developer talk doesn't sit well when Remedy seemingly went into financial crisis because they couldn't tap Steam for AW2 sales suffering potentially hundreds of millions in lost revenue," Douse wrote.

"Not that they need the money but a % take to Epic could've recouped dev costs + more. Competition is good, and important, but it is difficult to buy the message when there are demonstrable cases of games underperforming as a result of the tactic."

Initially, Douse had been replying to a post by Epic Games boss Tim Sweeney, who noted that "Epic and Steam compete for each customer and each sale." Sweeney continued: "On some transactions, Epic wins. On more, Steam wins. But one thing is constant on every transaction: gamers and developers win by having more options and better deals."

Continuing his response, Douse characterized the Epic Games' ambitions for its PC storefront as resting on "their ability to convert hundreds of millions of Fortnite players into mid-hardcore premium gamers," tempted by giveaways of free PC titles. "I don't see the Fortnite brand attempting to do that," Douse continued. "So it's like 🤷‍♀️ Maybe if there was a shit-hot Untreal Tournament.

"The Apple & Google stores spent a decade devaluing games & apps to a point where it is largely impossible to sell a premium game there in a way that doesn't massively devalue it on other systems. Giving everyone everything for free might bump numbers but doesn't create a viable storefront from which to sell premium experiences."

Douse's thread caught the attention of Remedy itself, who then replied with the following statement:

"Hi. There would be no Alan Wake 2 without Epic Publishing. The publishing deal with Epic was very fair to Remedy. While these complex deals can often take even a year to reach their conclusion, and may not always be fair to the developer, this one was. And it only took months to get done. Epic Games was, and is, an excellent partner to us. Steam or no Steam."

For its next game, Control Resonant, Remedy has entered into a partnership with Annapurna Pictures that will see the company fund 50% of the development of the Control sequel, while Annapurna creates film and TV spin-offs of Control and Alan Wake.

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

The Pokémon TCG: Pokémon Day 2026 Collection is back in stock at Amazon right now for $26.99, a steep drop from its $49.99 list price and easily the best price seen for this release so far (especially since market price is around $60 right now).

Guardians of the Galaxy 3 ended with a clear message: Star-Lord / Peter Quill will return to the Marvel Cinematic Universe. But how, and when? Actor Chris Pratt has revealed he has pitched Marvel on his vision for the future of the character — and he certainly sounds confident in it.

Pratt was conspicuous by his absence from Marvel Studios’ Avengers: Doomsday cast reveal, which he has joked about in the past. Pratt has also spoken positively about Star-Lord’s return (and Marvel has of course promised he will do so). So the question is how and when will it happen? If not Doomsday, perhaps next year’s Secret Wars? If not then, perhaps a new Guardians of the Galaxy movie?

Speaking to Josh Horowitz for the Happy, Sad, Confused podcast, Pratt was asked if he “definitively” knows how Marvel will use him as the MCU moves forward. “Yes and no,” he replied, clearly keeping his cards close to his chest. Pratt was then asked if he could see Star-Lord leading a new Guardians team in a movie directed by someone other than James Gunn, who is of course now co-CEO of DC Studios (and has his own superhero cinematic universe to contend with).

“Everything is all liquid, right?” Pratt responded, again in a guarded fashion. “And they kind of take things a step at a time at Marvel. I'm happy to do anything they want me to do, and will.”

But then, Pratt confirmed he has made his pitch to Marvel for the future of Star-Lord: “I personally have a really strong vision of what I would want him to do. And I think it's f***ing great.”

“I'm down to contribute any way I can to them setting up the next 10 years of storytelling. And also I have a pretty strong idea of how I think I could contribute to that," he continued.

“When we did Avengers with the Russos, it was an amazing experience, but also a slightly different experience than doing it with James [Gunn]. So in a dream world it would be somehow James, but I don't think that's likely to happen. So, I'd have to think about who would be the right director. There are amazing directors out there. I’m sure we’d find the right guy.”

Guardians of the Galaxy 3 ended with Zoe Saldaña’s Gamora joining the Ravagers, putting to bed any hope Star-Lord had of having a romantic relationship with the character after Thanos killed the original Gamora in Avengers: Infinity War.

Pratt spoke in favor of this resolution, saying it sets up Star-Lord to continue his story in a more interesting place.

“The conflict is probably more interesting,” he said. “It's more sad and it also sets you up to tell more stories,” Pratt said.

“But now there's more opportunities to tell stories about Peter Quill because that's a trauma he has in his life and it didn't end happily. And so now he would be — wherever we should find him — he would be in a real position to try to define himself. He doesn’t have a life, he doesn't have the obligations of a family and a wife and all that stuff.”

For now, the Avengers: Doomsday hype train is very much in full flow, with four don’t call them teaser trailers online that give us an idea of what to expect from this next crucial juncture in the MCU. Will Peter Quill make a surprise appearance in Doomsday? We don’t know. But we do know of three Marvel stars who say they’ve been left out.

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.

If you're in Melbourne Australia this holiday long weekend, you'll get the chance to step into the world of Azeroth's prime real estate. Ahead of the launch of the next World of Warcraft expansion, Midnight, Blizzard have constructed an impressive interactive display, appropriately called the "Midnight House & Lounge" in Federation Square.

Just in time for a certain racquet-swinging international sports event in town, this interactive slice of Atherothian lifestyles of the rich and orcish allows fans to experience a so-called "home away from home... a sanctuary crafted for heroes of Azeroth to relax and unwind and explore what’s next for World of Warcraft."

Plus, Blizzard will be giving away exclusive gifts at the venue until they run out - so be quick if you want to get your gauntlets on them, adventurer.

Check out a peek below:

This is a spoiler-free advance review of the first episode of Wonder Man, which debuts on Disney+ on January 27.

Marvel’s latest live-action Disney+ series, Wonder Man, shares an awful lot in common with 2024’s Echo. Like that show, it’s a smaller, character-driven series that carries the “Marvel Spotlight” banner. It’s being unceremoniously dumped on the platform all at once, just as Echo was two years ago. And most importantly, it’s a project that Marvel probably should have shown more faith in. The first episode isn’t going to magically cure the larger MCU of its current woes, but on its own merits, it’s an entertaining detour through Marvel’s version of Hollywood.

Yahya Abdul-Mateen II crosses over from the DCEU (and the Watchmen universe as well) to the MCU for this miniseries, playing the role of struggling actor Simon Williams. Don’t expect a 1:1 translation of the source material in this case. Simon isn’t juggling twin responsibilities as an actor and an Avenger, nor is he hobnobbing with heroes like his BFF Beast or becoming entangled in a love triangle with Vision and Scarlet Witch.

Marvel has gone in a much more grounded and meta direction with this series. The first episode introduces Simon as a hungry but not particularly successful thespian who might be best described as “aggressively overprepared” for his auditions. Simon sees his potential big break when a Hollywood studio decides to remake the ‘70s cult classic Wonder Man. In the process, he strikes up an unlikely friendship with another down-on-his-luck Hollywood actor in Ben Kingsley’s Trevor “I Played the Mandarin Once” Slattery.

Whether you can run with this very different spin on Wonder Man will determine how well the series resonates. This show isn’t necessarily about introducing the next great MCU leading man. Considering how many characters the Multiverse Saga has introduced and failed to properly develop, that would be a frustrating approach, frankly. This is simply a lighthearted character drama that happens to take place in the MCU. Were it not for the presence of Kingsley’s Trevor, there would be almost nothing to tie Wonder Man to the larger universe in its first episode.

But that’s just fine, mostly because Abdul-Mateen delivers such a bang-up performance. His Simon is immensely likable in spite of his flaws. Abdul-Mateen brings a real energy to the role, as well as a gravitas that manages to gel nicely with the overall light and floaty tone of the series. He’s overzealous and a bit self-absorbed, sure, but we also get a great sense of Simon as a film buff with a true passion for his work. He’s a true believer in a town full of cynics.

Kingsley remains his manic, nebbish, entertaining self in his fourth go-round as Trevor Slattery. Who in 2013 could have predicted the arc this character would take in the MCU? Trevor makes for a fun mentor/foil to Simon, and the first episode gives just enough of a hint of Trevor’s larger story that I’m fully invested in the series for his sake, too.

It’s also fun spending some time in the MCU version of Los Angeles. As you’d expect, there’s a heaping helping of self-aware humor to the scenes of Simon auditioning and butting heads with his exasperated agent (X Mayo). There’s nothing Hollywood loves more than making films and shows about Hollywood. But for now, at least, the navel-gazing and meta commentary are amusing rather than aggravating. It doesn’t hurt that director Destin Daniel Cretton brings such a fun sense of energy to Episode 1, particularly in the scenes where Simon is frantically driving to an audition and grappling with a hallway crammed full of rival actors.

All told, this is a very solid start to the new series. But does the initial premise carry enough weight to justify an eight-episode show? Not necessarily, which is why it’s just as well that this episode throws a late-game curveball that casts everything in a different light. By the end, we get a slightly better idea of where Wonder Man is actually headed and what Simon’s place in a world full of superhumans truly is. If the promise of a more character-driven MCU show isn’t enough on its own, that tease might just seal the deal.

Warning: This review contains full spoilers for The Pitt Season 2, Episode 3!

My big takeaway from last week's episode of The Pitt is that the series has acquired an enhanced sense of humor in Season 2. There's definitely a more lighthearted quality to the goings-on in the emergency ward right now. That doesn't necessarily change in Episode 3, though this one veers a little more in the direction of heartwarming character moments. As before, the takeaway isn't so much, "Gee, this series has lost its edge," as "Crap, they're buttering us up before things really take a turn, aren't they?"

Episode 3 chronicles what appears to be the last (relatively) calm and peaceful hour of the day shift before chaos breaks out. As such, it's able to devote a lot of time to furthering the handful of key medical cases that have cropped up so far. If anything, my one complaint about this episode is that it emphasizes the patients over the doctors a bit too much.

That's especially frustrating when it comes to Dr. Langdon (Patrick Ball), a character I really feel isn't getting the full attention he deserves so far in Season 2. It's also a bit weird to see so little of Mel (Taylor Dearden), given how much emphasis the previous two episodes placed on her malpractice suit and generally frazzled mental state. But, to be fair, I wonder how much the weekly format plays into that problem. Will it be as noticeable to anyone who binges the whole season later on? Probably not.

In any case, what we do get out of Episode 3 is a lot of scenes that emphasize the compassion these doctors show for their patients. That continues to be the theme of the scenes with unhoused patient Troy Digby (Charles Baker), and with the Louie (Ernest Harden Jr.) subplot. And it comes across in various other storylines, such as the husband and wife who reconnect after a terrible motorcycle accident, or the terrific scenes between Robby and the Jewish burn victim. Her references to the tragic real-world Pittsburgh synagogue shooting of 2018 are haunting.

As much as the show does a great job of conveying the agonizing, soul-sucking nature of working in a major American hospital ER, it's also nice to see the flip side. These doctors and nurses genuinely care about their work and about bettering the lives they come into contact with. These patients are real people with real pain and suffering, not names on a spreadsheet. These scenes don't come across as hokey or maudlin, but they do serve to inject a much-needed dose of optimism into a series full of pain and suffering.

Another highlight of Episode 3 is seeing the Kylie Conners (Annabelle Toomey) case play out and reach its dramatic crescendo. After Dr. Santos nearly pushes Kylie's father to physical violence, it turns out there's a much more benign explanation for the girl's many injuries. The series really needed to knock Santos down a peg and remind us that she can't be right about every personal crusade she undertakes, and that's what we get here. It'll be interesting to see how and if this defeat weighs on her going forward.

As much as this is a heart-warming and oddly soothing installment of the series, the final moments make it clear that it won't last. The Pitt is about to get a huge influx of new patients. I wouldn’t say the new season is off to a slow start by any means, but it will be a nice change of pace seeing the tone darken and the tension in the ER start to ramp up in Episode 4. Just how bad can it get? Considering how early in the day we still are, I'd guess pretty bad.

There isn't really a better way I could describe Hytale, the new survival crafter from some former Minecraft modders, than to say it's basically Minecraft 2. From the block-by-block breaking and building, to the stylized environments and enemies, to the procedural world generation, this feels like the, "What would we change if we had the chance to start over again?" version of the now legendary 2009 classic. Many games have been influenced by Mojang's trendsetter, but this one is more of a cover song than a subgenre. And while developer Hypixel Studios’ lawyers might not love hearing me say that, I honestly don't think it's a bad thing. Even in Early Access, it's a good cover!

All of this will be pretty familiar if you've put any time at all into Minecraft, but with some streamlining here and there. You no longer have to begin your journey punching trees, for instance, since basic tools are made with sticks and rubble that can be collected easily with your bare hands. Also, breaking the trunk of a tree will cause everything above it to collapse and drop its resources, which was almost enough to win me over on its own. I still to this day hate having to chop upwards to hollow out a tree in Minecraft!

Movement is also a lot more modern and fluid. You can jump up to three blocks high and pull yourself up, which feels like such a huge quality-of-life improvement over the one-block jump limit in Minecraft. It's even possible to take a running leap at a ledge, hit the side, and pull yourself up. We've got proper parkour now, and I don't know that I would ever want to give it up.

Building has some welcome additions as well. There are actual roof pieces, for instance, so you don't need to repurpose stairs. Most block types can be rotated using the R key before placing them. Half slabs can even be placed vertically to create thinner, interior walls. However, the way they're aligned on the grid and the lack of corner pieces mean you either end up with oddly offset layouts or missing corners, which is a bit of a shame. I wish they could dynamically snap together the way fences do.

It also just runs better than Minecraft on my Ryzen 7 3700X, 32GB RAM, and RTX 4070 Ti-powered system. Even with the draw distance cranked up, my framerates sit comfortably above 60. I haven't had time to stress test it with anything as elaborate as a 1:1 recreation of Minas Tirith or whatever, but for now it's like butter.

Combat is fine. There are a handful of different weapon types, from swift-slashing double daggers to a classic sword and shield setup with more defensive options. Each one has its own unique charge attack and a special meter that can be filled up to release a devastating finisher. Archery can be exciting, but I feel like arrows drop off too quickly to allow for really impressive long-range shots. And I suspect this has to do with the fact that enemies shot from even the current max range often have a really hard time figuring out where the shot came from, which makes it a bit too exploitable.

I'm quite impressed with the enemy variety already, with everything from goblin bomb-throwers to really terrifying lava toads that can catch you with their tongues and pull you in for a very painful bite attack. There are a handful of new creatures to fight in every biome, like yetis in the cold mountains and flying insects in the desert. The way they spawn can feel strange and off-putting though. Especially when exploring underground, it seems like they'll tend to clump up just on the edge of the small safe zone around a player, so I often turn back to leave the way I came only to find an almost literal wall of enemies behind me.

The biomes themselves have a pretty good variety as well, ranging from a chill fairy tale forest all the way up to intimidating basalt islands that can only be accessed with some intense mountaineering. What's even cooler is that every surface biome has its own associated subterranean environments that can spawn below it. Underneath the desert, you might run into harrowing hives for giant insects. Deeper underground are scorching lava tunnels filled with fire-themed enemies.

As someone who usually plays Minecraft on Large Biomes mode, though, they do feel a bit cramped, and this can't be adjusted yet. If you're standing in the desert and you can see a swamp and a lava island just over the next hill, it gives the impression that the world is more of a theme park patchwork than a real place. Hytale also doesn't support the kinds of extremely deep caverns and monumental mountains that came to Minecraft in the last couple years when they raised both the floor and ceiling for world generation significantly, which contributes to that diorama feeling.

That said, the generated structures scattered around enhance exploration quite a bit. Trork strongholds full of hidden loot chests, often guarded by about a dozen minions and a stronger chieftain, offer exciting targets with worthwhile rewards, at least the first time through. There are even villages of neutral Kweebec, though at this point they only have a limited selection of items to sell. And some of them, like recipes and new seeds for farming, feel a little bit pointless at the moment since there isn't much difference between the dishes you can cook other than the broad tiers of quality.

There's very little direction in the Early Access launch version of Hytale, either. The main hub area, the Forgotten Temple, is a rotunda of literal Under Construction signs. I even stumbled into some dungeons out in the world where I'd be excited to throw the doors open only to find one of these barriers promising there will be something here, some day. It's not clear what the larger, overarching goal is supposed to be. You can progress through the different tiers of materials that are found in increasingly dangerous biomes, but I quickly ran out of things to do after that.

I'm not sure if there will eventually be a story or bigger bosses to find or anything like that. I haven't run into them yet if they exist already. The only really specific endgame activity revolves around craftable Fragment Keys, which teleport you to a smaller challenge map to collect rare resources within a strict time limit. I found the whole system a bit underbaked so far, though they are one of the only efficient ways to acquire certain late game materials.

After watching Final Fantasy VII Remake Intergrade’s gorgeous opening cutscene on Switch 2, I instinctively reached for the PlayStation 5 controller sitting on my coffee table instead of my Switch 2 Pro Controller. That’s not to say VII Remake looks exactly as good on Switch 2 as it does on the beefier PS5, but this is an impressive port that’s easily up there with the best third-party games we’ve seen so far in the Switch 2’s first year, and I’m still not used to games looking this beautiful on my Nintendo console.

That strong first impression held up as I blasted through the familiar first hours of Cloud’s adventure in Midgar – which remains one of my favorite RPGs of the decade – with solid performance both handheld and docked. Digging through the menus also revealed tons of options to streamline progression for newcomers looking to see what all the hype is, or for returning fans who just want to blast through the epic adventure at a quicker pace on the go. No matter your experience with prior editions of VII Remake, the new Switch 2 version checks pretty much every box you could ask for from a portable version. If you’re a Nintendo-only gamer who’s been waiting for this one for a while, you shouldn’t hesitate to dive in.

FFVII Remake on Switch 2 Looks Great When Docked

When playing on my TV, VII Remake on Switch 2 impressed across all aspects: cutscenes, exploration, and most crucially, its fast-paced combat. It’s a small shame that it runs at 30 fps both handheld and docked, but I didn’t notice a single dropped frame during gameplay. It might’ve occasionally hiccupped during cutscenes, but I only noticed while examining it with a hypercritical eye for the purposes of this evaluation. It’s pretty safe to say that when docked, you can expect extremely consistent performance. It may not be 60 fps like on the other consoles, but it felt perfectly playable and responsive at all times.

I’m impressed with the little details I remember loving in VII Remake back in 2020 that have carried over here: the way the light reflects off Cloud’s Buster Sword as you run around still looks really nice. It targets 1080p while docked, missing out on the Switch 2’s highest capabilities but still looking really good nonetheless, with detailed character models and environments. Some NPCs popped in the distance when I was exploring the Sector 7 slums, but to my memory, that’s how it was on PS4 as well. And whether I was fighting a swarm of Shinra security officers or the hulking Scorpion Sentinel within a Mako reactor, VII Remake always kept up with the action, even when swapping between Cloud, Barrett, and Tifa to perform flashy abilities and Limit Breaks. Pro tip for Pro Controller users: I mapped the left and right d-pad to the GL and GR backpaddles on my controller, using them to conveniently swap between characters in combat.

Handheld Is a Totally Reasonable Way to Play

Playing in handheld is similarly impressive, but all of the minor complaints I noted about docked mode are slightly magnified. It’s still a solid 30 fps for the most part, but I noticed more dips during cutscenes specifically. But that doesn’t impact the combat, which always felt really smooth and totally fun. The resolution also takes a hit as you’d expect, and I noticed certain details like Cloud’s hair looked a lot blurrier. But when everything is in motion, VII Remake still looks nice on the Switch 2’s small screen, and it’s a completely viable way to play through it. It’s eye-catching to see modern AAA games run this well on a handheld device, and I think this era of games that originally came out on PS4 are the best fit for really solid ports to Switch 2. Final Fantasy VII Remake, as well as things like Street Fighter 6 that we saw last year, are third-party games that have dedicated versions on both PS4 and PS5, which have generally seemed to scale well to Switch 2.

Intergrade’s DLC Expansion Is Here, Too

Unlike Nintendo, which is still selling Breath of the Wild’s nine-year-old DLC content separately from its new Nintendo Sw itch 2 Edition, Square Enix has included everything in the Intergrade package for $40. That means you also get Episode INTERmission, an additional bite-sized campaign starring Yuffie, an optional party member from the original Final Fantasy VII who is now a central part of the Remake project. It takes about five hours to reach INTERmission’s credits, and it’s a really solid followup to the main campaign.

Streamlined Options for Casual Players or Double Dippers

There’s a lot here that makes a full replay pretty enticing. First, you can fast-forward through cutscenes at either 1.5- or 2-times speed, making it a snappier revisit for those who already know everything that happens but still want to see it play out. And, the brand-new Streamlined Progression menu adds options you’re probably used to seeing in modern remakes and remasters of old-school RPGs, like the HD-2D Dragon Quest games or even the most recent version of the original Final Fantasy VII itself. Having access to things like constant maximum health and magic points, an infinitely full Limit gauge, or the ability to deal 9999 damage on every hit lets you tailor your playthrough however you’d like, and it’s really cool to see those options come to a modern game. There’s also a nifty Head Start mode that hands you high-level characters and plenty of money, equipment, and abilities right from the beginning. I’d never recommend someone plays with these activated for their first playthrough, but it’s definitely fun to revisit old favorites by way of a frictionless power trip that lets you see all the sights again. It’s worth noting these features aren’t exclusive to Switch 2, Square Enix also updated the PS5 and PC versions with the same options, and everything is included in the new Xbox Series X|S release as well.

This Isn’t the Final Final Fantasy

Final Fantasy VII Remake is just part one of Square Enix’s currently unfinished Remake trilogy, with 2024’s Final Fantasy VII Rebirth representing the middle chapter, and a third and final entry yet to be formally revealed. If you’re worried about starting the series with just one entry on the platform so far, Square Enix has already committed to bringing Rebirth to Switch 2 and Xbox Series X|S, as well as the in-development third game. So you can jump in worry-free: the full story will eventually make it to Switch 2, and this first port is a great way to get things started.

Secretlab just launched preorders for its highly anticipated lineup of Pokémon gaming chairs and, not surprisingly, they're selling out quickly. These themed Titan Evo chairs - decked out in your choice of Gengar, Eevee, and Pikachu regalia - have all pretty much sold out of their first wave of preorders and have moved onto their second or third waves. I have no clue how many "waves" there will be for this initial batch, but if you want your chair to arrive within the first half of 2026, you should probably put in your preorder as soon as you can.

Preorder the New Secretlab Pokemon Gaming Chairs

Paramount+ has just gone through its first price increase since 2024, and the change is happening just ahead of UFC 324 coming to the platform. If you're new to the streaming service or looking to return, you're probably wondering if there's a way to save some money on a subscription right now.

Unfortunately, there don't seem to be any promo codes or coupon offers going on today. That's not to say there isn't any way to get a discounted subscription, but the usual special promotions for any of the Paramount+ plans are non-existent right now. What's more, the long-standing Paramount+ free trial has officially been removed alongside the price increase. With those things in mind, here are the options available right now.

Paramount+ Deals for January 2026

There are currently only two ways to save on a subscription: Signing up as a student or opting for an annual plan.

Students Get 50% Off

The Nintendo Switch 2 was the best-selling console of 2025 in the U.S., both in unit sales and dollar sales, selling a total of 4.4 million units in the U.S, and continuing its streak of selling faster than the original Nintendo Switch over the same period.

This comes from Circana's full-year reporting on the U.S. games market courtesy of analyst Mat Piscatella, and shouldn't come as a shock to anyone. The Switch 2 has been at the top consistently since it launched earlier in the year, amid a period of decline for the steadily aging PS5 and Xbox Series consoles.

Battlefield 6 was the best-selling game of last year, and the Nintendo Switch 2 Pro Controller was the best-selling accessory.

Overall, the U.S. games market reached $60.7 billion in sales for all of 2025, and $7.8 billion in December alone. That's up 1% and 3% year-over-year, respectively.

In hardware, spending was up 9% year-over-year to $5.4 billion for the year, and up 6% year-over-year to $1.2 billion in December. The Nintendo Switch 2, as the best-selling console of the year, managed to sell 4.4 million units, 94% higher than the original Switch at the same amount of time after its own launch, and 35% ahead of the PlayStation 4. It also continues its reign as the fastest-selling video game console hardware platform, with Piscatella pointing out on Bluesky that the Game boy Advance remains the fastest-selling hardware platform overall after seven months on sale.

Over in software, December spending was up 3% to $5.9 billion, with subscription services seeing the biggest increase of 24% year-over-year. Overall full-year spending was only up 1% year-over-year, with subscription spending increasing 20% offsetting declines in everything else except mobile spending.

While Battlefield 6 was the best-selling game of the whole year, Call of Duty: Black Ops 7 took the crown in December, despite its precense on Game Pass making its impact on Xbox much harder to tally. Fortnite saw the highest total active users across PlayStation and Xbox in 2025 of any game, with over half of all active users on the two platforms playing Fortnite at least once.

As for other games, the top five sellers for the full year should shock no one who's been watching the numbers all month: after Battlefield 6 was NBA 2K26, Borderlands 4, Monster Hunter: Wilds, and Call of Duty Black Ops 7, again noting that Call of Duty was a Game Pass Day 1 title. The rest of the list was populated by a series of expected sellers, with some standouts such as The Elder Scrolls IV: Oblivion: Remastered coming in at No.9, Elden Ring: Nightreign at No.14, Pokemon Legends: Z-A at No.17 (though Nintendo doesn't report digital sales, so it's possible this would have been higher), and Split Fiction at No.19. Grand Theft Auto V clocked in at No.20 as players await the release of Grand Theft Auto VI, probably this year.

And finally, just looking at December, standout games including Metroid Prime 4: Beyond, which launched into No.7 overall for the month, and Flight Simulator 2024, which released on PlayStation in December and shot from No.114 in November to No.16 last month. Over on PC for December, both Elden Ring and Elden Ring: Nightreign saw jumps likely due to the new Nightreign DLC.

December 2025 U.S. Top 20 Best-Selling Games:

1. Call of Duty: Black Ops 7
2. NBA 2K26
3. Battlefield 6
4. Madden NFL 26
5. EA Sports FC 26
6. Pokemon Legends: Z-A*
7. Metroid Prime 4: Beyond (NEW)*
8. Minecraft*
9. Donkey Kong Bananza*
10. Ghost of Yotei
11. EA Sports College Football 26
12. Grand Theft Auto V
13. Sonic Racing: CrossWorlds
14. Forza Horizon 5
15. Red Dead Redemption II
16. Flight Simulator 2024
17. Kingdom Come: Deliverance II
18. Kirby Air Riders*
19. Super Mario Galaxy + Super Mario Galaxy 2*
20. Marvel's Spider-Man 2

Full Year 2025 U.S. Top 20 Best-Selling Games:

1. Battlefield 6
2. NBA 2K26
3. Borderlands 4
4. Monster Hunter: Wilds
5. Call of Duty Black Ops 7
6. Madden NFL 26
7. EA Sports College Football 26
8. EA Sports FC 26
9. The Elder Scrolls IV: Oblivion: Remastered
10. Call of Duty: Black Ops 6
11. Ghost of Yotei
12. MLB: The Show 25*
13. Minecraft*
14. Elden Ring: Nightreign
15. Kingdom Come: Deliverance II
16. Forza Horizon 5
17. Pokemon Legends: Z-A*
18. WWE 2K25
19. Split Fiction
20. Grand Theft Auto V

* 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.

Skytech Gaming is offering a fantastic deal on a powerful 4K-capable gaming PC during a month when prebuilt prices are constantly on the rise. Right now you can pick up this Skytech O11 Vision AMD Ryzen 7 7700 Radeon RX 9070 XT gaming PC for just $1595.99 with free shipping when you apply three coupon codes: "NY100", "SMS50" and "SWARM". The Radeon RX 9070 XT is an outstanding graphics card that can run the latest games in 4K.

Skytech O11 Vision Radeon RX 9070 XT Gaming PC for $1,596

Stack three coupon codes: "NY100", "SMS50" and "SWARM"

Text-based games, management RPGs, and visual novels – of whatever kind – rarely make the most exciting previews. It's just not easy to build a rich interest in the world and characters of a story you can only get the slightest taste of. I'm very pleased to say that a few hours with Sovereign Tower broke that trend entirely.

Whosoever turns the key in the giant magic lock on the tower becomes king. So, as the mystically-appointed lord of the tower, your poor faceless wanderer becomes a very important person overnight in what developer Wild Wits calls a "story-rich, Round Table management RPG." It's an entertaining concept that draws its characters and dialogue equally from fantastical tradition and modern life. Couple that with a deliciously detailed art style and a sense of what's most entertaining to do in both management games and visual novels.

That's enough to sell it, I think, but it also has some nice surprises and a weird little twist on the genre as a whole. I had a pretty darn good time with it, and I'm looking forward to more.

King of the Castle

In each turn of Sovereign Tower, you have to do two things: accept audiences, then assign knights from your round table to various quests. Taking audiences is a simple concept: Sit on the throne and deal with problems people bring you. The decisions you make there can alter the path of the story, bring up new quests for your knights, or avoid problems. They'll also affect the sovereign's standing with the realm's four factions: the Nobility, People, Merchants, and Scholars.

Some problems go away if you just throw money at them, and the taxes you get at the start of every cycle can pay for some of that—but those are the same taxes you use to pay for stuff like cool new swords and horses and magic potions, so do you really want to spend them on boring stuff like bridges or whatever? Probably not.

That sounds pretty normal, but it's the weirdos that show up to need things from you or to join your kingdom that make it memorable. I encountered a stinky jester, proud emissaries unable to admit they couldn't solve their own problems, clever peasants, annoying nobles, and even an assassin. Talking with them solidifies the personality of your blank-slate Sovereign, raising their stats in Audacity, Tyranny, Wisdom, and Kindness to unlock alternate decisions in future events.

The Knights are the flavor that'll really have to carry the game, and from what I saw they might do it. I met a huge guy that acted like a child, a very fancy boy, an extremely overdramatic guy, a nice lady who loved forest critters, the most goth knight ever, and even a straight-up actual wolf. Each of them had their own unique little events and dialogue that popped up from time to time, each of which affected your sovereign's relationship with them. They also had history to learn, as well as more straightforward stats, all of which affect their performance on missions.

Figuring out which knight would be best for each quest was an actually interesting choice. Equipment like a specific horse to ride, a sword to use, or a magic potion can give them temporary stat boosts, but it's often the bonuses or penalties from their personality traits that make the difference between a failure and success or between mere success and an outstanding victory.

For example if you're doing something that's a bit of public relations? Probably should send the more charismatic knight, but not the really arrogant one. Watching each knight's background and figuring out which of the little highlighted keywords apply to the current mission is a fun bit of understanding the characters.

And there's a real penalty for failure. Your knights each have an armor score, which if it goes to zero means that knight's, well, dead and gone. Your blacksmith can only fix one knight's armor each cycle—so you need to be reasonably sure that the task you're sending a knight on is one they can at least survive if they fail.

Shining Armor

None of the characters, nor the entire game as I saw it, would have nearly as much personality without the visual art on display in Sovereign Tower, and I've got to take a moment to run through the influences and elements that make it up. Starting with the simple choices of colors to draw from: The warm pastels, earth tones, and jewel tones are lovely, then they're combined with copious golden shades and tints to express lighting. It's a palette of colors that's something between stained glass or rich watercolor on thick paper.

The characters are drawn with a lot of emotion and movement, too, for what are otherwise relatively flat portraits. You can feel the shrug in how Urusla stands, for example. You can see the carefree attitude in the angle of Angelica's head. And, well, everything about Gideon tells you exactly who he is and how he behaves. It's not just great illustration work in that you can feel the motion, it's that you can immediately start to feel who the characters are just from how they look.

It's clear that these are artists who understand how to work their chosen medium, and if you'll put up with me for a nerd moment, it is deeply reminiscent of the Art Nouveau period in design from France, Belgium, and the Netherlands. Particularly the advertisements, posters, and calendars of justly-famous artist Alphonse Mucha. It's a fitting choice, too: Mucha's work often used the kind of medieval romantic and even fairytale themes that Sovereign Tower seems to use in its stories—I imagine he'd approve of being the inspiration here.

I think that's where I'd place this whole game's artistic style, too: It's a blend of medieval fantasy and Arthurian romance setting, the art of Mucha, and the writing of a wryly clever modern comic book. There's basically nothing to dislike in that.

The Clever Twist

It's not a surprise to people who like this kind of game that there are going to be secret events and pathways through the story to uncover, as well as desperate outcomes and painful prices to pay when choosing poorly at certain decision points. I found that Sovereign Tower must have more than a few, since I managed to stumble into at least two hidden story outcomes while playing just by assigning an unexpected or suboptimal knight to a specific quest.

The frustration with these kinds of events, however, is that they can give you unwanted outcomes or change the story when you weren't expecting them to or were aiming for another outcome. The only choice you've got at that point is often to play the entire visual novel over again just to see a new path or the immediate consequence of a tough choice.

The real good choice that Sovereign Tower makes is to have a built-in do-over mechanic. See, there's a demon that lives in a cage in the tower basement, which I'm sure isn't scary or plot-relevant at all because the demon helps you do something very useful: Step back in time. Don't worry—the demon assures me this is because it has absolutely no bad intentions and is bound to help you—much like all the other magical things that live in the tower.

With the demon's help you can turn back time, especially when some choice you've made would lead to a disastrous end. I expect you'll also be able to use the power to avoid the worst ends in the game, and I'm betting most players will want to use it at least once or twice to avoid making whatever NPC they've chosen to romance not mad at them about something. There's also the hint, given in the trailer and screenshots for Sovereign Tower, that you'll be able to use the demon's power to unlock alternate dialogue in situations you've seen before—tagged with an "Omniscience" stat that surely won't upset or alarm people who don't realize you're time travelling.

Overall, from the art and the writing, I'm pretty intrigued by Sovereign Tower and it's going on my list of games to watch out for. Sure, the game mechanics are pretty simple, but when the story and characters are interesting in this way I'm glad the game rules are getting out of the way to let me entertain myself—failing and succeeding on my own terms.

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We’ve finally gotten our first good look at Star Wars: Maul - Shadow Lord, the latest animated series in this ever-expanding franchise. Shadow Lord follows Sam Witwer’s iconic villain as he sets about rebuilding his criminal empire in the era of the Empire. And while he may be the star of the show, there are a few other familiar faces popping up in this series.

Let’s take a deep dive into the new Shadow Lord trailer to break down both the returning favorites and the new additions to the Star Wars ranks. How does this series fit into Maul’s complex storyline? Here’s what you need to know.

Sam Witwer as Maul

Naturally, the former Darth Maul is the star of the show with this new series. For a character that was seemingly killed off in his first appearance back in 1999’s Star Wars: The Phantom Menace, Maul has certainly taken on a second life thanks to The Clone Wars and other animated series. Shadow Lord aims to fill in some major blanks with Maul’s story and connect the dots between the end of The Clone Wars and Maul’s cameo appearance in 2018’s Solo: A Star Wars Story.

For those who haven’t been following Maul’s journey over the past decade-and-a-half, the character made his unexpected return in The Clone Wars, where we learned that he survived his duel with Obi-Wan Kenobi through the power of sheer hate. Maul was restored to some semblance of sanity and health and set about building a criminal empire called the Shadow Collective with the help of his brother, Savage Opress, and the Mandalorian faction known as Death Watch.

And yet, fate still hasn’t been kind to Maul in the years since. He narrowly survived a reunion with his old master, Darth Sidious (though Savage wasn’t so lucky). In the final Clone Wars story arc, “The Siege of Mandalore,” Maul was defeated by Ahsoka Tano and taken into Republic custody. He narrowly escaped after the events of Order 66 played out, and that’s pretty much where we find him now in Shadow Lord. He’s a free man again, but his criminal organization is in shambles, and the newly formed Empire is hunting him along with the other surviving Jedi.

As the series opens, Maul’s journey to rebuild the Shadow Collective takes him to a new Star Wars planet called Janix. This advanced planetary metropolis has mostly been a free player in the larger galactic order up till now, meaning there’s a lot of opportunity for an ambitious crime lord looking to re-stake his claim on the underworld.

“It's one part Gotham, one part Metropolis and a hundred percent Star Wars with all these different levels and layers,” Executive Producer Matt Michnovetz told StarWars.com. “It's a city essentially built into a crater on this planet that is untouched by the Empire. It's got a functioning democracy and law enforcement doing a good job of policing their own community. It's a rich environment for crime and gangsters, but so far there's been a very peaceful accord between all of them in the interest of business.”

Shadow Lord is set early on in the reign of Palpatine’s Empire, at least in Season 1. The question is how much time the show will ultimately cover. Will we see Maul grow to become the master of the powerful Crimson Dawn organization, as he is in Solo: A Star Wars Story (which is set about 10 years before A New Hope)? Will the series advance even further to reveal what happens after and why Maul becomes stranded on Malchor in Star Wars Rebels? There are a lot of blanks the series can fill in with this character, even if we already know how his story ultimately ends.

Gideon Adlon as Devon Izara

Maul: Shadow Lord will introduce a number of new characters to the Star Wars canon, but probably the most important of these is Devon Izara. From what we can glean from the trailer, Devon is one of the Jedi who survives the Jedi Purge, only to find herself on the run and battling against Stormtroopers and the Sith Inquisitorius.

It appears that Devon becomes an unlikely ally of Maul’s in this series, despite the two characters coming from opposite sides of the Jedi/Sith tracks. As Devon is sure to learn, the old rivalries don’t necessarily matter in this new era where survival is everything.

“Devon is a young person who's living through challenging times and realizes that the future she once thought she was going to have is no longer possible, and so she has to adapt,” said Michnovetz.

Maul is certainly fond of recruiting minions to become his latest Sith apprentice. He did it with his brother, and he tried to do it with Ahsoka on Mandalore. We suspect he sees a similar opportunity in Devon, a chance to shepherd an impressionable young Force user and, in turn, forge himself into a true Sith master capable of exacting vengeance on Sidious.

Whether he ultimately proves successful in turning Devon to the Dark Side will probably be one of the key questions in the series. But some fans are already speculating that we’re about to see Lucasfilm add another popular Expanded Universe character to the modern Disney canon. The theory is that Devon will eventually become Darth Talon, another Force-sensitive Twi’lek and a major villain from the comic book series Star Wars Legacy.

In those comics, Talon is active more than a hundred years after the fall of the Empire, but that hasn’t stopped the fires of speculation from burning. And it’s worth remembering that George Lucas himself was a big fan of Talon and reportedly wanted her included in the canceled Darth Maul video game. Maybe he’ll finally see a version of that desire realized.

Wagner Moura as Brander Lawson

While Maul will face plenty of opposition of the lightsaber-wielding variety (and we’ll get to those characters shortly), it looks as though one of his main new antagonists in the series is a humble cop named Captain Brander Lawson. Brander is a police detective on Janix, one who has so far managed to keep the peace in the chaotic early years of the Empire’s reign. Maul’s arrival surely threatens that fragile peace.

Brander wears a uniform similar to that of Kyle Soller’s Syril Karn in Season 1 of Star Wars: Andor. That gives us a clearer picture of what his place is in the law enforcement hierarchy. He’s not an Imperial officer, but part of the local Janix police force. We suspect that, as much as Brander and the Empire are aligned in their desire to see Maul brought to justice, he’ll be butting heads with them as they start to assert more dominance over the Janix sector.

Richard Ayoade as Two-Boots

Richard Ayoade is adding another Star Wars role to his repertoire with Shadow Lord. Just as he voiced the droid Q9-0 in The Mandalorian, Ayoade will play a different droid character called Two-Boots in Shadow Lord. Two-Boots is Brander Lawson’s faithful partner and companion. He gets his name from - you guess it - the unusual pair of boots he wears on the job.

Star Wars fans will get a chance to become acquainted with both Brander and Two-Boots before the animated series premieres in April. They’re also central figures in the Marvel Comics prequel series Star Wars: Shadow of Maul.

“This is a sci-fi story, but it's also a crime story,” writer Benjamin Percy told Marvel.com. “It's a story about cops, criminal syndicates, a neon-lit, shadow-alleyed city that hides many sins and secrets. I'm teamed up with an artist who's already a Star Wars veteran and legend: Madibek Musabeckov. His art is gritty and grounded and perfectly matches the noir tone. We've been in close contact with Lucasfilm—reading scripts and watching episodes of this fantastic new animated series—and our story will serve as a prelude to what viewers will see play out on the screen.”

Vanessa Marshall as Rook Kast

Maul will have at least one other ally in his early quest to rebuild his shattered empire. It turns out some Mandalorians are still loyal to him, even after the fall of their world. Vanessa Marshall will reprise her role as Rook Kast, the leader of Maul’s Mandalorian super commandos. She’s likely a fugitive from the law, like Maul himself, and sees an opportunity in Maul’s criminal scheme.

A.J. LoCascio as Marrok

We first encountered the mysterious Marrok in Ahsoka Season 1, where he was one of several lightsaber-wielding villains going up against Rosario Dawson’s Ahsoka Tano and Natasha Liu Bordizzo’s Sabine Wren. Marrok proved to be a silent but deadly mercenary, and we eventually learned that the reason is that he was resurrected as a zombie by Nightsister magic.

But at this earlier stage in the Star Wars timeline, Marrok is still (as far as we know) an ordinary flesh-and-blood member of the Sith Inquisitorius. He even carries the esteemed rank of First Brother. He’ll even have actual dialogue this time around, with A.J. LoCascio cast in the role for the first time.

“The Empire is consolidating the galaxy from the core worlds out, and the Inquisitorius is stronger than ever,” Michnovetz said. “They're hunting Jedi and other Force users, doing all kinds of nasty work. The galaxy at large is sort of dealing with this slow rise of the Empire and different groups have different understandings of what the Empire is. The same thing goes for the Inquisitors. They’re secret mercenaries that show up out of the darkness.”

We may even learn how Marrok dies his original death in this series. The safe bet is that either Maul himself or Devon gets the upper hand on this character.

Clancy Brown (?) as Eleventh Brother

Marrok won’t be the only Sith Inquisitor to appear in Season 1 of Shadow Lord. We also catch a glimpse of Eleventh Brother, a character who previously appeared in the anthology series Star Wars: Tales of the Jedi and Tales of the Empire. We assume Clancy Brown will once again voice Eleventh Brother.

Like Marrok, it appears that Eleventh Brother has been tasked with hunting down Maul and bringing him to Imperial justice. Unlike Marrok, though, we know he won’t be getting killed off in this show. That honor was already claimed by Ahsoka in Tales of the Jedi.

The Other Shadow Lord Characters

Disney’s press release for Maul: Shadow Lord drops several other key names. We know that the cast also includes Dennis Haysbert as Master Eeko-Dio-Daki, Chris Diamantopoulos as Looti Vario, Charlie Bushnell as Rylee Lawson, David C. Collins as Spybot, and Steve Blum as Icarus. For now, it’s hard to put those names to faces we see in the trailer, but let us know in the comments if you have any ideas.

For more on the future of the Star Wars franchise, find out what to expect from Star Wars in 2026 and see why we only need one thing from Lucasfilm’s new Presidents.

Jesse is a mild-mannered staff writer for IGN. Allow him to lend a machete to your intellectual thicket by following @jschedeen on BlueSky.