Author: Game Infliction

Death Stranding fans, it seems like you’ve got something really killer coming your way. The sequel game, Death Stranding 2: On The Beach, is set to arrive in June and the franchise’s star, actor Norman Reedus, recently teased some of the game — as well as a key tidbit about the future film adaptation — in an interview with IGN.

“If it was an option, yeah, for sure,” Reedus revealed when asked if he would consider playing himself in a future film version of the game which was announced to be in the works from Michael Sarnoski and A24 last month. “I don’t know what’s happening with it. It’s so pre pre pre right now. But yeah, of course.”

@ign Norman Reedus teases Death Stranding 2 while promoting From the World of John Wick: Ballerina! #deathstranding #normanreedus #ballerina #johnwick #interview ♬ original sound – IGN Entertainment

We also asked Reedus about his confusion with the first game and if he still felt that way going into the second one, but it seems he deeply trusts creator Hideo Kojima, whose reputation obviously precedes him. “As far as working with him and understanding where his head’s at, I don’t think anybody can understand where his head’s at,” the Walking Dead alum explained. “He’s just that guy, he’s out there and he’s got great ideas. But story-wise, I did know what was happening more. There’s more action in it, there’s more of a definite goal to get to.”

That said, no matter what’s going on in the Death Stranding world, Reedus is happily along for the ride. “It’s always a trip working on those things,” he told IGN. “It’s great, but it’s wild.”

Death Stranding 2: On The Beach will be released on June 26, 2025.

Lex Briscuso is a film and television critic and a freelance entertainment writer for IGN. You can follow her on Twitter at @nikonamerica.

As pre-orders sell out and tons of references are revealed, Magic: The Gathering’s upcoming crossover with Final Fantasy is shaping up to be its biggest ever. Today, we get to add to that fun with six cards that are available in the upcoming set: three featuring classic concept art by Yoshitaka Amano, and three with more recent art by Toshitaka Matsuda.

Flip through the gallery below to see all six cards, and read on to learn where to find them yourself:

The cards we are revealing today are part of the “Through the Ages” bonus sheet that is within the larger main set. That means they are all reprints of existing cards reskinned with concept art and characters from different Final Fantasy games – so while there are no brand new or mechanically unique cards here like the ones that have been shown off recently or those in the Commander decks we previously revealed, they do have art that stretches back all the way to the very first game in the series.

Unlike the cards in the main set, Through the Ages cards do not become legal in Magic’s Standard format (though they still are if the existing card was already legal there, of course), essentially just making them alternate art versions of those cards. That said, they can be found in both the fancier Collector Boosters as well as one in every three of the regular Play Boosters that are used for Limited events like Draft and Sealed.

That means if you plan to play a lot of this set either at your local game store or digitally on something like Magic: The Gathering Arena, you are likely to see these cards in action quite frequently. Five of the six cards here are Rares, which means they won’t show up as often, but Thrum of the Vestige is notably an Uncommon. That’s a reskin for one of Magic’s most ubiquitous cards, Lightning Bolt, and I wouldn’t be surprised if this particular printing has quite the impact on the set.

The Warrior of Light reprinting of Jodah, the Unifier is also certain to be a popular one – Jodah is a powerful and common Commander, and the art used here is Amano’s from the Japanese boxart of the original Final Fantasy. Similarly, Amano’s iconic art for Final Fantasy 4’s Cecil Harvey has been repurposed for one of Magic’s strongest partner commanders, Tymna the Weaver, which has only ever been reprinted once before this.

These cards launch physically as part of the larger Final Fantasy set on June 13, with the digital versions going live on MTG Arena and MTGO on June 10. And if you are a Final Fantasy fan who isn’t into Magic yet, there is still reason to be excited, as FF7 Remake series director Tetsuya Nomura said the design of Sephiroth on one card is different for some cryptic reason.

Tom Marks is IGN’s Executive Reviews Editor. He loves cards games, puzzles, platformers, puzzle-platformers, and lots more.

Upon release back in 2020, American developer Sucker Punch’s Ghost of Tsushima was generally well-received for its fictionalized depiction of historical Japan. The game’s director Nate Fox recently talked about his commitment to bringing the same kind of cultural sensitivity to the upcoming Ghost of Yotei, emphasizing the importance of research, respect, and listening to cultural advisors.

While Ghost of Tsushima had us take on the role of Jin Sakai as he defends Tsushima from a Mongol invasion in the 13th century, Ghost of Yotei skips forward to 1603, where we play as female warrior Atsu in Ezo (modern day Hokkaido, Japan’s northernmost main island). She is out to wreak vengeance on a band of outlaws who murdered her family.

Ghost of Tsushima paid homage to classic samurai movies (with its black-and-white “Kurosawa mode” named after legendary Japanese film director Akira Kurosawa), so it will be interesting to see if Ghost of Yotei takes any influence from Japan’s many movies featuring tough female warriors exacting revenge, like the Lady Snowblood series.

In a recent PlayStation Blog post, Ghost of Tsushima and Ghost of Yotei director Nate Fox talked about how the research trips to Japan have not only been the “best part” of working on the games, they have also been highly inspiring and eye-opening.

“Everyone from Sucker Punch that went on those reference gathering trips came back to the studio with a driving passion to bring a sense of authenticity to our fictional depiction of these real life places,” he commented, emphasizing the importance of getting the feel for a place in person, and then using this experience to craft an original, in-game environment that matches the spirit of the real location.

Comments made by Ghost of Tsushima’s English-to-Japanese localization producer Daisuke “Dice” Ishidate on Twitter / X back in May 2024 echo these sentiments: “The Ghost of Tsushima development team told me that ‘we want to create enjoyable entertainment, not a history lesson…’ I think that maybe the reason for Ghost of Tsushima’s success is not objective historical accuracy but its subjective period drama-like style (and flair).” (As reported by Automaton).

Indeed, Ghost of Tsushima read like a thoughtfully researched love letter to historical Japan with a dash of classic samurai movie thrown in. What inaccuracies it has were mostly artistic license used to create a more entertaining and atmospheric experience for the player, and to make the game more accessible to wider audiences. For its depiction of samurai, Ghost of Tsushima tapped into later centuries and the pop culture image of samurai as katana wielders, when they predominantly used bow and arrow in the 13th century (archery expert Sensei Ishikawa is perhaps the closest character to the samurai of that period). As for accessibility, Jin can compose haiku (the most widely recognized type of Japanese poem), however the haiku form didn’t develop until centuries later.

Although Ghost of Tsushima’s towns, shrines, and environments do feel like experiencing a nature hike through Japan from the comfort of your sofa, the game took some liberties in allowing the player to experience all Japan’s seasons. The real Tsushima is subtropical, located between South Korea and Japan’s southernmost main island of Kyushu. The heavy snow that Jin encounters in Act 3 is anachronistic, as the real Tsushima is too far south to experience such weather. However, this gave players the chance to experience a sort of virtual postcard of the most iconic and famous aspects of each season in Japan. Wandering the game’s fictional Tsushima, the player moves between different seasons: abundant pink cherry blossoms bringing a splash of spring to your screen one second, only to be replaced by orangey brown autumn leaves when you enter another area.

As Fox explained, the digital Tsushima was never intended to be a perfect recreation of the island, but it was meant to faithfully capture the spirit of the place. In the PlayStation blog post, he commented: “We felt that by listening to our cultural advisors and by doing research, we could deliver a respectful representation of what made Tsushima so special… For Ghost of Yotei, we’re doing the same thing.”

Fox revealed that Sony picked Hokkaido for Ghost of Yotei’s setting because it is “unbelievably beautiful.” Upon visiting the place, Fox recounted that the dev team were struck by the contrast between the majestic views and the potential threat posed by the bears that inhabit Hokkaido’s Shiretoko National Park. “A perfect marriage of beauty and danger, that was the exact feeling we wanted for our game,” Fox enthused. Added to this, in 1603 when Ghost of Yotei is set, Hokkaido was a sparsely populated, harsh northern island, which the developers felt fit with the tale of a female warrior so hell-bent on revenge that the locals start to believe she is a demon.

However, official information about Ghost of Yotei has yet to mention how and if it will address Hokkaido’s complicated history of eventual colonization by Japan. How will Ghost of Yotei depict Hokkaido’s indigenous people, the Ainu, and their language and culture? Will it portray tensions between Japanese and Ainu populations? This could be a difficult part of the game to get right.

After release, Ghost of Tsushima met with mostly positive reception from Japanese gaming media and people, gaining a perfect score from Famitsu and winning two awards at the Japan Game Awards 2021. It has also been embraced by the real life island of Tsushima, with its popularity encouraging more tourists to visit the island. The game’s director Nate Fox and creative director Jason Connell were named cultural ambassadors to the island, for their role in drawing people’s attention to Tsushima and its history. If Ghost of Yotei becomes as successful as its predecessor, it might also bring more overseas tourists to Hokkaido. However, they should probably make sure they are better prepared than the British couple who recently got stranded on Mount Yotei.

Verity Townsend is a Japan-based freelance writer who previously served as editor, contributor and translator for the game news site Automaton West. She has also written about Japanese culture and movies for various publications.