Are you ready to step into history? To celebrate the upcoming launch of Civilization VII, we’re giving one lucky winner the ultimate adventure! While Civilization VII immerses players in the complexities of global domination and cultural greatness, IGN is taking it one step further by sending a fan to a featured Civilization from CIV VII with a rich history to explore!

One lucky winner and their guest can win an all inclusive trip to Rome, Italy for a chance to dive into its rich culture. The winner will also receive a private tour of the Colosseum, 7-day accommodations, and airfare / transportation covered! Ten runner ups will receive a game prize pack so they can jump into Civilization VII at launch.

Sign up for your chance to win below here: https://ign.com/special/civilization-vii-au-giveaway

Whether you’re a lifelong Civ fan or just love history, this is your chance to experience one of the world’s greatest civilizations firsthand!

Hurry – the contest ends March 4th @ 10:00 AM AEST, and a winner will be announced shortly after. Don’t miss your chance to turn your Civilization VII dreams into reality. Rome awaits!

_________

Entry is open to users who: (i) are legally residents of Australia, (ii) are eighteen (18) years of age or older at the time of entry and (iii) have a valid email address. Entrants who are eligible to enter the Competition pursuant to these Terms and Conditions are referred to as “Eligible Entrants.” To enter, participants must: (i) Visit ign.com/civilisation-7-ancient-wonders-giveaway); (ii) Complete the entry form, which will provide Promoter with an entrant’s full name, phone or mobile number, email and mailing address); (iii) Tell us in [25] words or less what is your favourite moment in the history of the Civilization franchise); and (iv) have an existing 2K account. Only one (1) entry per person will be accepted. Subsequent attempts made by the same individual to submit multiple entries by using multiple accounts or otherwise may result in disqualification of the entrant.

#CivilizationVII #IGNsGreatCivilizationGiveaway #AUS

Amazon is running a terrific “Buy 1, Get 1 Half Off” sale on popular items like books, movies, and games. (Please ignore Amazon’s confusing language that makes it sound like you have to buy two items at regular price – that’s not the case). The sale includes all three of the Fourth Wing books, but it also has a bunch of excellent board games in it, many of which are already on sale. You can shop the whole sale here, or read on for some of the standout board games in the sale.

Board Games for Adults

Tons of the best board games are eligible for the sale, including recent(ish) classics like Azul, Catan, Carcassonne, Pandemic and the like. Plus there are tons of bigger, longer, deeper selections on sale, like Twilight Imperium, Sherlock Holmes Consulting Detective, and the Lord of the Rings, as well as many more strategy board game.

Classic and Family Board Games

If your shelf could use some more timeless classic board games or family board games to entertain your guests, you’ll find plenty of those in the sale as well. We’re talking board games for kids like Mouse Trap and Guess Who, as well as Monopoly Junior, which makes that interminable old standby mercifully short in play time. And if you want to commune with the spirits of the dead, there’s that old family classic Ouija, which is only kind of a board game, but I’m including it anyway.

There are a lot more games on sale as well, plus expansions for many of the games listed above. There’s a lot to sift through, and that’s before you even start thinking about the movies and books you can mix and match to get the discount. So feel free to peruse the sale at your leisure and pick out whichever items you want.

Chris Reed is a deals expert and commerce editor for IGN. You can follow him on Bluesky @chrislreed.com.

I was smitten with Compulsion’s South of Midnight well before I got to play a little more than an hour of it recently. From the first enigmatic trailers hinting at this Southern gothic, dark fantasy, magical realist stop-motion game set in the Deep South, to IGN’s own first look, to the bigger gameplay overview at the recent Xbox Developer Direct – South of Midnight struck me as a deeply moving, highly stylized game that would almost definitely make me cry. When I told the Art Director, Whitney Clayton, that I had immediately thought of that decade-plus-old movie Beasts of the Southern Wild, she confirmed that was one of their early major inspirations for its “Mythical Bayou-type location, folklore creatures, and this really heartwarming protagonist.” That, along with the “darkness and folktale fantasy” of Pan’s Labyrinth from Guillermo del Toro. Huge yes to all of that.

In the section that I got hands-on time with, I absolutely got the sense that all of the intrigue and hype-building was no bluff, and yet a couple elements of the gameplay still needed more time in the metaphorical oven before it’s ready to ship out. Even with those minor blemishes – which are slightly concerning because we’re just a couple months away from its April 8 release date – I left still enamored with the setting and bubbling with curiosity about the bigger story about ghosts and environmental catastrophe driving South of Midnight.

I played through Chapter 3, far along enough to have some magical combat tricks as a Weaver going up against spooky figures called Haints – which is exactly where I began. (Though the question of “What exactly is a Weaver?” is yet to be explained.) Diving pretty much headfirst into a fight was expectedly disorienting, but I was reassured that all of the mapped techniques – push, pull, and what’s basically a stun move – are introduced at a pace that’s much easier to get acquainted to naturally. Part of the struggle was the autolock feature being a little loosey-goosey at times; because of the volume of Haints and where they appear in the combat area, the camera spun around the main character, Hazel, in a way that made me a tiny bit woozy.

I eventually got the hang of the Weaving moves, plus the timing of dodging for its magic recoil against nearby Haints, and found it challenging enough but not necessarily revolutionary. But I hardly think it needs to be: South of Midnight’s charm is, well, basically everything else. As long as it’s fun (it was) and not horribly repetitive (it wasn’t), then it can, in fact, run almost purely on vibes. From each encounter with the Haints, I felt a sense of eerie dread from the lighting and fog, the blaring drums-and-horns score, the general spore-like creepiness of the Haints and their corruption. And when I finally beat their spooky asses, it culminated in a cathartic cleansing of the land, both physically and spiritually, that had been choking on its past. Hazel wasn’t just clearing out the wreckage of environmental disaster from a devastating hurricane where she lost her mother, setting her on this very journey. She was healing the ghosts of history that were haunting the land, too.

That’s kind of how the beats of the chapter went: platform around a swampy area with double jumps, glides, and magic skills to find what I’ll call “Haint holes,” clear ‘em out, and pick up little pieces of a bigger story that all point back to a Mythical Creature – this one in particular at the behest of a giant talking magical Catfish who is both narrator and seemingly Hazel’s mode of transportation around different areas. Chapter 3 didn’t end with a boss battle against one of the giants highlighted in earlier videos; instead I climbed up a giant man-shaped tree to clear the Stigma of its Wound. I swear, the game explains why it exists at all through the collected ghost stories, and houses and spaces are littered with ephemera that help fill out more of the character-building picture. But even so, the ultimate answer still felt like a cliffhanger: Who were these people and how were they connected to the bigger tapestry of South of Midnight? I gotta know!

This storybook narrative meshed peachily – pun intentional – with the luxuriously textured elements of its habitat. Clayton told me the basis of these details was rooted in making the animation feel tactile: “What would this look like if it were actually handcrafted in real life?” she said. “What kind of materials would they have been made out of to look like the thing that they’re supposed to be made out of?”

Speaking of stop-motion: The team knows that not everyone is going to love the style, Clayton said, and that’s fine: “Anytime you do something a bit bold, you’re gonna get polarizing feelings.” (For what it’s worth, if it’s that distracting, you’ll be able to turn it off outside of cutscenes in South of Midnight’s settings.) I will say, I did catch a couple of moments with frame rate issues that haven’t been fully ironed out yet, but Compulsion is aiming for 60fps on Series X by launch. And when everything is running smoothly as it ought to, South of Midnight should be a uniquely beautiful game that might even make you cry a little bit, too.

While Henry Cavill may be the most famous actor to have played Geralt of Rivia, he’s not the first name many will think of when discussing The Witcher. Certainly amongst the gaming community, Doug Cockle — the voice of Geralt in CD Projekt Red’s series of critically acclaimed RPGs — is considered the original and ultimate white wolf. But the paths of Cavill and Cockle’s Geralts have now merged, with Cockle bringing his unmistakable voice to Netflix’s interpretation of the character in the new animated movie, The Witcher: Sirens of the Deep.

While he’s not playing the same version of Geralt who appears in the games, Cockle was not asked to alter his performance to sound more like or include the mannerisms of Henry Cavill or Liam Hemsworth, who replaces Cavill as Geralt in the next season of the live-action show. This creative decision meant Cockle was able to draw upon the same method and approach that created the unmistakably gravelly tones of his Geralt of Rivia. And so you’ll still hear the same voice you’ve known and loved for nearly 20 years.

Cockle formulated that voice back in 2005 when recording dialogue for the first Witcher video game. “The thing I found most challenging about recording Witcher 1 was actually the voice itself,” Cockle recalls. “When I first started recording the game, (Geralt’s) voice was very, very far down in my register. It was something I had to push towards.”

At the time there was little guidance as to how long voice actors should spend recording in a single session, and so Cockle was spending eight or nine hours per day delivering that gravelly voice. “I was going back to my hotel just going, ‘Wow, my throat is ripped’,” he recalls. The struggle continued into the recording of The Witcher 2 a few years later, but Cockle’s vocal chords eventually strengthened and began attuned to what was required of them — a process he sheepishly likens to an athlete’s muscles getting into shape.

Cockle’s vocal chords adapting to better support Geralt’s voice wasn’t the only major change that happened during the development of the second game, though. “The books started to come out in English while I was recording Witcher 2,” he explains. “Before that, it was the developers from CD Projekt Red who taught me everything I needed to know about Geralt. So as soon as The Last Wish came out in English, I was down at the bookstore buying it, and I tore through it. And I understood things about Geralt just from reading just that one book that I didn’t understand at all before.

“The developers kept saying, ‘He’s emotionless’,” Cockle says. “And I was like, ‘Okay, I get it, I get it, but I’m an actor. I want to play with emotions.’ But I better understood [when reading] the book why they were pushing for as flat as possible of an emotional life for him.”