Magic: The Gathering’s next big collaboration brings PlayStation’s biggest worlds to the table, with Secret Lair drops inspired by God of War, The Last of Us, Horizon, and Sucker Punch’s Ghost duology. It follows June’s record-breaking Final Fantasy set, marking yet another major gaming crossover with Magic.

Fresh off the launch of Ghost of Yotei, we caught up with Jason Connell, Creative Director at Sucker Punch, along with Wizards of the Coast’s Jacob Covey, Steve Sunu, and Annie Sardelis, to learn how Jin Sakai’s world was reimagined in card form.

They shared how brushstroke met blade, and how Sucker Punch’s involvement went far beyond a simple seal of approval. And even more excitingly, IGN has also got an exclusive first look at Ghost of Yotei’s Atsu card, joining the upcoming PlayStation superdrop.

A Cardboard Ghost

“Part of the fun of working with game studios is the mutual fandom between us—there’s usually a Magic fan or three on their side and a group of fans for their game on our team,” WOTC Art Director, Jacob Covey, explains.

When it comes to Sucker Punch, there are even a few tournament games being played within the development team.

“It’s about 10-12 folks who play monthly, mostly Commander format,” Jason Connell explains. “A few people who regularly come into the office have decks at their desks just in case the mood ever strikes.”

As for making it happen, the conversation began a while ago, and it was Wizards who wanted to work on a PlayStation collaboration.

Borderlands 4 looks like a big hit in the U.S. at least, where it has outperformed Borderlands 3 in terms of money made.

U.S. video game data company Circana said Gearbox’s looter shooter was the best-selling premium video game of September, debuting as the third best-selling game of 2025 so far. It was September’s best-seller on both the Xbox and aggregated PC storefront charts.

Most importantly for publisher 2K Games, Borderlands 4 generated the highest launch month dollar sales of any title in the franchise’s history, nearly 30% higher than the previous best, Borderlands 3.

It’s worth noting this stat isn’t about unit sales, rather revenue generated. Borderlands 4 launched at $69.99 (eventually, after a weird kerfuffle online about whether it would jump to $80), with the Deluxe Edition priced $99.99 and the Super Deluxe Edition at $129.99. At its launch in September 2019, Borderlands 3 cost $59.99 for the standard edition, $79.99 for the Deluxe Edition, and $99.99 for the Super Deluxe Edition. It’s also worth noting that Borderlands 3 was a PC exclusive to the Epic Games Store for six months after its release, whereas Borderlands 4 launched across PC via Steam as well as consoles.

So, we don’t have hard sales figures yet (2K Games has made no announcement so far). But according to Circana, Borderlands 4 was the first Borderlands title to launch as the best-selling game of its release month, so there’s that.

There were encouraging signs for Borderlands 4 when it came out last month. It set a peak concurrent player number record for the franchise on Steam (neither Sony nor Microsoft make player numbers public). But it has suffered from performance issues that have contributed to its ‘mixed’ Steam review rating on Valve’s platform. Gearbox has issued a series of patches since launch, but fans are waiting for the Borderlands 4 ‘Day 30 Update,’ which is due out later this week.

NBA 2K26, by the way, is 2025’s best-selling game year-to-date, ahead of Capcom’s Monster Hunter: Wilds. Helldivers 2 was the fourth best-selling game of September on Xbox platforms, after debuting third during its August launch month. Helldivers 2 ranked as the sixth best-selling game overall in September and was 19th for the 2025 year-to-date period.

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.

Only the first two episodes of Dispatch’s eventual eight have been released so far, but it’s safe to say I’m already quite invested in this unique narrative adventure, which feels like a spiritual successor to the Telltale Games of the 2010s. Half TV show, half puzzle game, this superpowered workplace comedy quickly captured my attention with its cavalcade of oddball characters, engaging minigames, and giggle-inducing dialogue. It’s too early to say where the story will lead across the next three weeks of its episodic release schedule (and we’ll have a final, scored review at the end), but the threads AdHoc Studio are pulling on are immediately compelling, and I’m cautiously optimistic.

Dispatch takes place in an alternative take on modern Los Angeles where superpowered beings, aliens, demons, and all manner of hyperpowered humanoids live amongst the regular folk. Naturally, some of these gifted beings use their powers for good, while others opt for a distinctly villainous approach. With so many supers roaming the streets, an organisation called the SDC has stepped in, launching an insurance-type racket that allows citizens to pay for the privilege of a powerful watchdog. One of the aforementioned good guys is the series’ protagonist, Robert Robertson — otherwise known as Mecha Man — whose heroic aspirations are quickly thwarted when a rogue explosive takes his suit out of commission and plops him into the role of a call centre worker at a small branch of the SDC. So far we’ve only experienced his first day on the job, but I’m already compelled by his predicament and curious to see how this desk job will impact his halcyon dreams of helping people.

Dispatch is split into two distinct parts: most of the time you’ll be chatting through beautifully animated scenes, picking amusing dialogue options, and doing quick-time events like those seen in The Wolf Among Us or the Life is Strange series. Certain decisions trigger a heart-pounding ‘X Person remembered that’ notification at the top of the screen, which feels like a refreshing jolt of nostalgia in 2025. Crucially, though, I often couldn’t feel the weight of my decisions until I had already committed to them. So far, my choices haven’t seemed false or meaningless — I was frequently surprised by how even the most nonchalant comment could impact the tale, and only time will tell how considerable these ripple effects may become.

The rest of your time in Dispatch is spent at work in the role of a titular Dispatcher, assigning superheroes to a variety of jobs. Unlike the animated sequences, these sections take place on a computer screen and resemble a point-and-click puzzle. Using your mouse and wits, you’ll monitor a city map where orange exclamation points periodically pop up with a timer, alerting you to various jobs SDC needs to handle efficiently. Each hero under your command has a stat matrix, similar to that seen in Pokémon, and as a job appears, you’ll receive a verbal description of the issue with aligned icons denoting the stats needed to successfully resolve it.

From here, your job is to match your best hero, or in some cases heroes, by their stats and personalities and then send them on their way. You’ll be told right away whether you’ve passed or failed, with success earning you a stat boost you can apply to your hero for future shifts. It’s a moreish feedback loop that works well with the tonal complexity of the context surrounding it. Dispatch carefully balances your team’s tongue-in-cheek banter with the stressful necessity of saving citizens on time, which is a blast.

That’s not all, though, as there’s a secondary hacking minigame folded into your workday. Here, you’ll roll a 3D object through a cybernetic maze as the clock ticks down, using arrow key inputs to forge a path towards the end goal. Given that these scenarios are often blended with an intense event happening across town, the stakes feel high, and it was easy to get absorbed in the fantasy. Dispatch’s ‘augmented episode’ approach is compelling so far — it helps that the script is so witty and satirically acerbic, and delivered well by its ensemble cast.

As well as the puzzles in play, your team is another complication to your success. Robert Robertson is new to the job, so naturally, he’s not exactly running a gold star operation. The group you’re trying to control is entirely comprised of former villains who, after a life of crime, are trying to reintegrate into society. As you can likely imagine, it’s not going well. The concept of ethically murky superhumans has been explored across film and TV before, but Dispatch often diverts expectations through a steady mix of dirty jokes and sincere interactions that keep you on your toes.

For example, in a meeting after my first shift, my boss, Blonde Blazer, asked why I had a bloody nose. Moments earlier, due to some potentially ill-advised decisions during a conversation, one of my ‘heroes’ promptly smacked me in the face. I had a choice here: I could snitch on her, or pretend everything was fine. Hoping not to get hit again, I chose not to fess up, which led to a warm interaction between myself and another member of the SDC. Dispatch could have chucked in another joke here for a cheap laugh, but it didn’t. This measured restraint imbues the world with a sense of realism that’s easy to get emotionally invested in.

It helps that the pool of characters I’ve met so far have wormed their way into my heart, even when their attitudes stink. No one is one-dimensional, and while it’s unclear what’s hiding in their layers, it already feels like there is a lot to unpack. There’s Invisigal – formerly Invisibitch – a bratty, quippy menace escaping a dubious past voiced by Laura Bailey; the SDC leader Blonde Blazer played by Erin Yvette, whose noble front hides a world of insecurity; and Jeffrey Wright’s Chase, a retired hero and potty-mouthed veteran of the game, just to name a few standouts. I would be remiss not to mention Robert here, too, who, thanks to Aaron Paul’s emotive and nuanced performance, feels deeply flawed but lovably human.

Just a quarter of the way through this story, it’s still too early to say where Dispatch might end up. It’s clear there’s lots still to come, from levelling up my heroes in the Dispatch minigame to living out Robert’s saviour fantasy after his accident. I’ll be back with a scored review shortly after the release of the final episodes on November 12 – but, as of right now, I’m totally enthralled in this world, and I’m keen to get tangled up in Robert’s fractured personal life.

The first Battlefield 6 Season 1 trailer is here, revealing a first look at the new Blackwell Fields and Eastwood maps, new weapons, and more.

EA and Battlefield Studios published the debut trailer for the Season 1 update ahead of its launch next week, October 28. The two-minute video shows off glimpse of the team’s plans to keep Battlefield 6 content flowing following its strong October 10 launch for PC, PlayStation 5, and Xbox Series X | S.

“Blackwell Fields spans besieged facilities and homesteads under a burning horizon, supporting all combat sizes with land and air,” an official description for the new Battlefield 6 Season 1 maps says. “Eastwood turns a quiet villa and golf retreat into a frontline, with land vehicles and helicopters in play.”

Today’s Battlefield 6 Season 1 trailer shows off first gameplay on the Blackwell Fields map and Eastwood map, but it also serves as an update for content fans have already been told to expect. BF Studios previously shared a roadmap for its first seasonal content run earlier this month, revealing three waves of updates that are set to roll out from next week through December 9.

Things kick off with the Rogue Ops update next week, starting with highlights like Blackwell Fields, the Strikepoint mode, Traverser Mark 2 vehicle, GGH-22 pistol, SOR-300SC carbine, Mini Scout sniper rifle, rail cover & LPVO attachments, and more. California Resistance content then follows November 18, bringing the Eastwood map and Sabotage limited-time mode, as well as a trio of new weapons. Finally, Empire State gets the Ice Lock makeover with the Winter Offensive update December 9. We know it includes at least one new tool in the form of the Ice Climbing Axe melee weapon.