Category: IGN

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If you could hire any director to make an Elden Ring movie, who would you pick?

You might settle for fantasy heavyweights like Peter Jackson or Guillermo del Toro, or maybe you’d tap Miguel Sapochnik, the man who brought you many of Game of Thrones’ biggest battles, including Hardhome and Battle of the Bastards. If you’re looking for something a little more avant-garde, you could even pick Robert Eggers (Nosferatu), Yorgos Lanthimos (Poor Things), or Bong Joon Ho (Mickey 17) – filmmakers who, like Elden Ring developer FromSoftware, relish in the surreal, cryptic, and uncanny.

Chances are, you wouldn’t pick Alex Garland. The British writer and director is known for the grounded, slow-burning science fiction dramas Ex Machina and Annihilation, as well as the inventively named war films Civil War and Warfare – none of which resemble FromSoftware’s work in any notable way. However, Garland is precisely who film studio A24 has selected to adapt Hidetaka Miyazaki’s magnum opus for the big screen. Considering Garland – who, in addition to directing, is also set to write the screenplay – isn’t one to take his multi-digit checks and phone it in, you have to wonder how he’ll try to make this work.

There’s something about Sonic games where I kind of let my guard down and just enjoy them for what they are. And I’m happy to say that I’ve genuinely enjoyed my time with Sonic Racing: CrossWorlds, which I played an hour of during Summer Game Fest. It’s a kart racer that, in my short time with, nails the core tenets of a good kart racer – fast and intense races, powerups that turn the tide and leave you salty, and a good vibe that celebrates the characters from its source material. I can’t really ask for much more than that, yet there’s still more to chew on that we haven’t seen in previous Sonic racing games.

Let’s start with the CrossWorld mechanic, which varies up each race – the first lap starts on the selected track, then whoever’s in first place in the moment chooses where the entire race warps to for the second lap. This can range from an icy world with aurora borealis in the skybox, to a storming sea among a ship’s wreckage, or a volcanic zone with laser grids as obstacles. And then the third lap returns to the normal track. It’s a novelty that you may get used to over time, but it does provide some level of dynamism from race to race and adds a bit of unpredictability to keep things fresh.

In those crossing worlds, you’ll be flying, hovering, and surfing depending on where you warp to, and so there’s a great sense of variety to your vehicles since you’re not just on the ground drifting with your karts. I quite like the flying sections since your aircraft controls well and brings a certain verticality that’s surprising for a kart racer. If anything, Sonic Racing: CrossWorlds is blasting your eyeballs with chaos happening on screen, and maybe overdoing it. Not that it’s a major complaint I hold against it, but this is a very visually busy game to the point where it’s sometimes hard to tell what’s really going on – and I think these moments are more in service of the spectacle rather than being a serious competitive racer.

However, it does have that competitive edge with how you outfit your kart. You can customize parts like the body, tires, and boosters to tweak stats such as top speed, acceleration, and handling. What’s more is that you can attach perks to your kart as if it’s a loadout. You get six slots for attachments, and some attachments take up more than one slot – for example, I used a three-slot acceleration booster and a two-slot perk that improved my recovery time after getting hit by an item. And these things actually affected my performance in a meaningful way. I got hit with a rocket in lap three alongside another racer, but was able to pull ahead of them significantly after getting hit because of both of those perks I equipped. So, if you’re really serious about kart racing, I think there’s room for being a real sicko about it.

I only had access to the Grand Prix modes, which pits you in a series of four races, awarding points for your position and determining a winner by the end of the series. It’s pretty standard stuff with a few quirks along the way. I’m not sure if this is embedded in Sonic lore, but one racer will be declared a rival mid-Grand Prix and will act more aggressive toward you and stay more competitive throughout the series. The fourth and final race will also reward more points for first place, so you can turn the tide at the last minute if you’re a few points behind. However, I’m curious about how the other game modes in Sonic Racing: CrossWorlds will play out, because as fun and dynamic as normal races are, longevity will rely on Sonic Team being able to capitalize on its potential in other creative ways.

Perhaps some of that will come from its crossover characters – not only is this about Sonic as a whole, it’s a celebration of Sega’s recent history as well. During Summer Game Fest, Sega revealed that characters like my precious boy Kasuga Ichiban from Yakuza / Like A Dragon, Joker from Persona 5, and my vocaloid queen Hatsune Miku will all be part of the roster. Seeing Ichiban relive his days of Dragon Kart from the 2020 RPG is adorable and a welcome extension of his character, while seeing Miku on a hovering board racing through Sonic worlds is enough to get me bought in (and we should have Miku in more games, to be honest, shout out to Fortnite). It’s not like crossover characters are a new thing for a Sonic racing game – I mean, look at the wild lineup for Sonic and Sega All-Stars Racing. But Sega’s catalog has grown a lot since then, so perhaps this new era of characters can spice things up in a way that makes more sense.

Sonic Racing: CrossWorlds doesn’t have to revolutionize the kart racing genre, and I think it’s staking its claim on being a fun and carefree racer that celebrates Sonic and the larger Sega pantheon. It’s a vibe, and one that I’ve enjoyed and will look forward to drifting through when it launches on September 25 of this year on the last two PlayStation, Xbox, and Nintendo consoles, as well as PC.

Cuphead did something in 2017 that we’d arguably never seen before in a video game, or at least nowhere near the degree Cuphead went to: it built an entire game around completely hand-drawn art and animation a la a 1930’s cartoon. We haven’t seen it since probably since doing all of that painstaking visual work by hand is incredibly difficult, time-intensive, and laborious. But now, a new hand-drawn and hand-animated project is getting ready to grace our PCs and consoles. It’s called Mouse: P.I. for Hire, and fully handcrafted art is about the only thing it’s got in common with Cuphead. Mouse is its own, equally gorgeous game, and after getting a look at a hands-off demo, I’m just as interested in it as I was when I first saw Cuphead. Which is to say, I’m very interested.

As you can obviously see, Mouse is in black and white. It’s reminiscent of the Steamboat Willy era of early animation, complete with guns that are always wobbling even when they aren’t in use, as if they’re made of rubber. (More on the guns in a bit.) As you can also plainly see, Mouse is a first-person shooter. In it, you play as Jack Pepper, who in-demand video game voice actor Troy Baker plays with a stereotypical-on-purpose New York accent. He’s an early-20th-century gumshoe, after all, see? He’s got to sound like one.

What I really liked about the demo I saw of Mouse was that it wasn’t just a mindless run-and-gun first-person shooter (not that there’s anything wrong with that). Instead, the mission I saw part of was set at an opera house, where Pepper had to find and question the stage designer. We started at the back door, where we spoke to a waiter and asked about Roland, the aforementioned stage designer. He hasn’t seen him, so in we go to investigate for ourselves.

Inside, the kitchen gives you a better look at the visual aesthetic at play here. Notice how the characters are 2D within the 3D space, not unlike the monsters in the original Doom. A peek through the porthole window of the kitchen door shows off one of Mouse’s detective-y features: reconnaissance, as Jack takes a photo and sees some members of the Big Mouse Party – aka not guys we want anything to do with.

Moving to the back of the kitchen, we meet up with a slick waiter who’s happy to help sneak us upstairs to where we need to go quietly – for $30. We decline the bribe and instead find a vent we can sneak through. A bonus stash of cash hiding in the vent is appreciated, but the bottom falling out of the vent, crash-landing us back outside where we started, is very much not appreciated.

Attempt number two takes us back through the kitchen and into the same vent, carefully crawling around the newly made hole in the floor and taking us to the dressing room, where a Thompson machine gun and some ammo await. You’re not supposed to be in here, of course, and the Big Mouse Party members don’t take kindly to your presence. It’s here that we get our first look at the first-person shooter combat, including one of the gorgeous reload animations.

We hear a muffled voice that might be Roland, but first a safe gives us a chance to see the lockpicking minigame in action, along with what the safe was hiding: a cup of coffee? Then things get really loud, as the wall in front of us blows up and we have to snuff out the bad guy that emerges from the smoke before using TNT ourselves to make a hole in the floor so we can make our way down into the bowels of the opera house.

Finally, we’ve found Roland. He’s been beaten up by the extras, who Jack deduces aren’t extras at all, and learns the Big Mouse Party’s real plan: to assassinate mayoral candidate Stilton, who’s sitting in the balcony for that evening’s show, during intermission, using the cannon on stage that is both full of live ammo and pointed directly at him.

Fast-forward to more combat, including the shotgun, which looks like it packs a nice wallop – and also has a pretty awesome reload animation of its own. Plus a look at explosive barrels that leave the bad guys burning in the most cartoonish way possible. There’s even an ice barrel – liquid nitrogen, perhaps? – that freezes nearby foes when detonated, allowing you to kick them so they shatter into a thousand pieces, Terminator 2-style. Moments later we also got a look at the third weapon featured in the demo: the turpentine gun, which melts these cartoon characters who are literally made of paint, not unlike the Dip from Who Framed Roger Rabbit?

After a bit of platforming and fighting a new helicopter-tailed enemy type, we found our way back upstairs…only to have a trap door below our feet open up, dumping us back into the basement. It’s here we meet the Old Rat Stuntman, who teaches Jack the double-jump maneuver. After testing it out and discovering a secret – a baseball trading card of “Brie” Ruth (get it, because they’re mice and love cheese?) – we find our way back on stage to sabotage the cannon and save Stilton, which triggers a boss battle with a raging opera performer. The turpentine gun finishes him off, and we get a look at its reload animation, which if you ask me is even cooler than the others we’ve already seen.

The fire from the stage has spread to the rest of the opera house, and we’ve gotta get out of here. But we’re going to have to shoot our way out using every weapon at our disposal. No problem for Jack Pepper. Let’s watch some combat now, uninterrupted.

Finally escaping the building, we meet up with the stage designer, who coughs up what he knows about the performer who’s vanished. Something about a secret lab underneath his mansion? No, that doesn’t sound suspicious at all… And with that, we exit the level and the demo ends.

And so, though I haven’t yet played it myself, from what I’ve seen of Mouse – and you just saw most of what I saw – I’m really eager to give it a try. It seems like it’s got the right lighthearted, somewhat comedic tone while also being self-aware but offering a solid first-person shooter at the core of it. After all, as gorgeous and admirable as its hand-drawn art and animation are, if the gameplay can’t back it up and also maintain my interest in it over the course of its campaign, then it won’t really matter how pretty it is. But at this point, I’m extremely optimistic.

Ryan McCaffrey is IGN’s executive editor of previews and host of both IGN’s weekly Xbox show, Podcast Unlocked, as well as our monthly(-ish) interview show, IGN Unfiltered. He’s a North Jersey guy, so it’s “Taylor ham,” not “pork roll.” Debate it with him on Twitter at @DMC_Ryan.

I remember the first time a boy made me a mixtape (okay, mix CD, same diff). It wasn’t even a romantic gesture – he made them for all our friends. Mine had a now-embarassing mix of Morrowind music, Naruto OPs, Queen and Kansas (inexplicably), and uh, this song. It was a wild mix of nerd stuff and absolute bangers that made no sense together at all.

So I can appreciate a really, really good mixtape, one that makes you feel big feelings and think big thoughts. Sure, I make my own Spotify playlists now for myself, but there’s something tangibly retro about someone handing you a physical item of songs, perfectly selected and ordered, that they curated for a person, a moment, a space and time.

So what if that, in video game form? That’s the entire premise of the aptly named game Mixtape that I previewed at Play Days last week. Mixtape follows three teens: Rockford, Slater, and Cassandra, though it’s told from the perspective of Rockford and their final mixtape of the summer: a collection of musical hits to encapsulate their last night together with their best friends. See, Rockford has big dreams, and is headed to New York in the morning to take a huge, ridiculous swing on a future career that’s incredibly, appropriately teenager of them and unlikely to pay off (though Rockford’s plenty confident). So Rockford has assembled a pretentious lineup of perfect songs, each backing a different vignette from the crew’s final night of mischief (and, occasionally interrupted by a flashback or a song they didn’t necessarily intend to include).

Look, even if Rockford’s whole schtick is being a music elitist, they’re right about one thing: they do compile an excellent mixtape. The whole game opens on “That’s Good” by Devo, and the segment I played proceeds through Jesus and Mary Chain, Alice Coltrain…I don’t want to spoil it too much, because the songs themselves are such a fundamental part of each moment and do a lot of heavy lifting to play into Mixtape’s overall aura of nostalgia.

In fact, I think one thing I appreciate most about Mixtape is that aside from the music, this isn’t a game jam-packed with specific pop culture references like so many other nostalgia plays love to do. The songs have got it covered. I’m not stopping every few seconds, pointing at an artifact or a joke and going, “I recognize that!” And yet, Mixtape manages to effectively capture a very specific flavor of reminisence for one’s youth, and that feeling is injected into everything from Rockford’s room decor to how the characters speak to the gentle, golden, almost-autumnal light permeating everything in the opening.

Here’s another thing that struck me: the three main characters are, frankly, pretty annoying! And I love it! They’re such teens. Older teens, sure, on the cusp of adulthood, but teens! I’m 34! I can’t take them remotely seriously, and I’m not supposed to. The trio, while distinct in their personalities, all carry a slightly exaggerated self-obsession, that feeling I remember well from being 17, 18, 19, and thinking my concerns were at the center of the universe. Obnoxious quirks and all, I’ll be happy to spend a full evening with all three in the full game.

The actual meanest thing I can say about Mixtape is that at least in the snippet I played, you’re not doing very much. There’s some skateboarding, and a sequence where you careen through the town on a shopping cart, and in both situations you steer, but I’m not sure there’s really any consequences for doing either activity well or poorly, or any reason to try very hard. You can headbang to music played loud in a car. Mostly, from what I saw, you walk around a room and look at things while talking to your friends. The most interesting gameplay was an extended section where you simulate two awkward teenage tongues making out in a simultaneously hilarious and disgusting interchange. I get the sense that the wider game will likely play out more as a series of minigame vignettes that one specific flavor of video game, but as it stands I’m hard-pressed to explain to you what it is you’re going to be doing, mostly, throughout the rest of Mixtape.

The thing is, whether the rest of the game turns out to be action-packed or not, I’m not really sure it matters for what Mixtape is going for. This is a vibes game through-and-through, and Mixtape’s vibes are impeccable. I’m happy to let Rockford take me along on whatever journey they and their friends are about to head out on, one song at a time.

Rebekah Valentine is a senior reporter for IGN. You can find her posting on BlueSky @duckvalentine.bsky.social. Got a story tip? Send it to rvalentine@ign.com.

I play a lot of competitive shooters – and I mean a lot of competitive shooters. Whether it’s being an unfortunate son in Grey Zone Warfare, flipping cards in FragPunk, or smashing and grabbing in The Finals, this has been my default “gaming night with the friends” genre since I was in school many, many (many) years ago. And even after many thousands of hours spread across Destiny, Call of Duty, Halo Infinite, and Valorant, there is something about the action on the Rainbow Six series that stands out and just feels right. Now that Rainbow Six Siege is celebrating its tenth year with a massive new update in the form of Rainbow Six Siege X, it seems like a perfect time to reevaluate how this popular tactical shooter stands among its peers after a decade of tweaks, updates, and additions.

The fundamentals of Siege are as strong as ever, which is great to see. Bomb is the headliner mode: Two teams take turns on offense and defense trying to either fortify position and protect a bomb, or battle their way in to defuse it. That setup has been around for decades (and is also the core mode of games like Counter-Strike) but Siege’s distinctive entrenchment and destruction mechanics make its version stand out, and both sides of that coin are extremely fun. I love throwing down a bunch of temporary walls, setting up razor wire or other boobie traps, and getting ready to ambush attackers. And it’s just as satisfying on offense, knowing the other team has set up similar defenses, and blowing a wall open with some thermite to bypass all of it and get the drop on the enemy. The fast time-to-kill rewards position over twitch skill, and I appreciate the way the relatively slow aim-down-sites animation forces you to decide before a fight how you want to engage. This is a thinking man’s shooter, through and through.

The cast of playable characters is an impressive 75 Operators. Each has a different loadout and slightly unique playstyle, with half reserved for Attackers and the other playable only when you are on Defense. They do a great job catering to different playstyles, whether you want to smash through walls with your big hammer as Sledge, or dash around at high speed as Oryx. It is surprising that the Siege X update didn’t add anyone new to the roster, though we did get Rauora just a few months ago.

In addition to Bomb, Siege X adds a new 6v6 mode called Dual Front, but that one hasn’t yet grown on me in the time I’ve spent with it so far. Here, both teams have an area to attack and another to defend simultaneously. There are no restrictions on what type of character you can use, though only 37 of the 75 operators are eligible selections. The single available map is enormous, which, combined with the fast time-to-kill of Siege, means you tend to spend just a very small fraction of the match duration involved in actual action. Unlike in Bomb you can respawn after you die, which seems like it would make this a good mode for onboarding new players, but so far I feel like it really just takes away the pulse-pounding stakes that make Siege what it is.

Siege X is built around a limited free-to-play model. I say limited because, while you can absolutely play Siege X for free, it locks some key modes, like Ranked and Siege Cup, behind a paywall. You’ll need to spend around $20 USD if you want access to those. That seems like an odd choice for something that already has a robust shop and battle pass system for generating money, particularly when other popular games, like Marvel Rivals, don’t do any such segmentation between paid and unpaid players. The community has long been a bit weary of how slow progression and a protracted Operator unlock pace push people towards the paid battle pass, but with the revamps in Siege X I still need to spend more time unlocking things to get a feel for how much better or worse that has gotten.

One of the hallmarks of Siege has always been the way you can punch through walls, breach barriers, or come crashing down through the ceiling into your assault, but that feels like it could’ve used an update for this relaunch. For all the walls you can Kool-Aid Man through, there are still a surprising amount of invincible barriers, like thick walls, certain window coverings, and any sort of furniture that make its destruction system less flexible than a more modern game might be. This is especially true on rooftop maps, which limit your options for a vertical breach to the small number of predetermined access points. Those limitations really stand out when other games that’ve come along since Siege first paved the way let you smash through almost anything. I’m not saying Siege needs to let you literally bring down the house, but the fact that I can’t throw some thermite under the bomb and drop it through the floor like I can with the bank in The Finals really sticks out.

A decent audio system, especially headphones, has always been an advantage in Siege thanks to its outstanding sound design, and Siege X has noticeably improved it. Explosions and gunfire sound as great as ever, but it’s the ability to locate the general direction of sounds really impresses me. It’s always been handy for finding enemies trying to get the drop on you, but the revamped soundscape now feeds a lot more detail into it. The most significant difference I’ve heard is in footsteps above and below you – once you learn to recognize the difference between the boomy noise above versus the more hollowed-out sounds below you can start to close your eyes and pinpoint exactly where threats will come from, which is such a cool gameplay-based reward for paying attention to the details.

There are a few other extremely situational upgrades I quite like. Rappelling is one of the most fun offensive options in Siege X: Hanging upside down like a tactical Spider-Man and getting the drop on enemies watching stairways and doors is supremely satisfying, though until now the actual usefulness in combat has always been somewhat limited. That’s because the rope has tended to leave you a sitting duck – or a pinata – if the enemy sees you. But new options to sprint along the wall or jump around corners means getting spotted isn’t instant death, and I’ve found myself using it a lot more as a result. On top of that, new destructible objects like gas pipes and fire extinguishers can be shot to create jets of flame or smoke. It’s extremely rare for that to matter in a fight, but it does have a very cool cinematic flair with just a touch of area control that I really appreciate.

All that said, I’m still early enough in my return to Siege that I’m not quite ready to render a final verdict on its new iteration. I can certainly say that Siege X is a lot of fun to play, and mastering every Operator will be enough to keep me busy for the long haul. I’m a big fan of most of the new additions like the improved sound design, more mobile rappelling, and destructible elements, though at this point I don’t know if Dual Front will be a destination mode – I need to give it more time to gel before I write it off. Overall, I think this a solid step forward that I’m eager to keep playing and evaluating, so stay tuned for the full review next week.

The 2021 relaunch of Splitgate solidified that Valve-style portals and old-school arena shooters are two great tastes that taste great together. Splitgate 2 carries that same great melding of run-and-gun action and tactical trickery that helped the original plant its flag in the genre, so it’s starting from a good place. However, even though the addition of character classes and a wider range of weapons help bring Splitgate 2 through a new threshold of promise, some of the other shots it takes through the looking glass come back to bite it and have made me a bit less optimistic about the time I’ve spent with this free-to-play followup so far.

Visually, quite a bit has changed relative to the original. Gone is the muted, more industrial look of the battle venues, replaced by lots of vibrant colors and brighter lighting, making it look less distinctive and more like the many games trying to catch the eye of Fortnite players. In the trade up from the grubby metal walls to the cleaner, sleeker surfaces, Splitgate 2 is also absent of the more interesting features that made the original’s maps interesting and memorable. Features like deserts and trees that would be smack-dab in the middle of a map (like in one of my favorites, Oasis) are now relegated to background decorations, and every surface you’ll actually run and gun across feels samey across the 15 map options.

The returning map creator mode, now called The Lab, is powerful enough that it’s already filled with dozens and dozens of fan-made recreations of famous PvP maps from bigger games, alongside some more interesting and original user creations that serve as great side shows to the main action. But they are often too gimmicky to be considered good replacements for the developer-made maps as far as having consistent and competitive rounds of the standard modes (to the extent that’s possible considering there’s no ranked mode currently available). I had a pretty hard time getting strangers to queue for some of the wackier-looking options, often sitting in lobbies alone for long periods of time in hopes some other curious Splitgaters would stumble in. I was often disappointed.

Splitgate 2’s biggest win, though, is in gameplay tweaks that have a huge impact on pacing from match to match. The signature portals are still the X-factor, allowing you to create paths between two points on the map on the fly. They are the perfect tools for setting up ambushes, tricky getaways, and even manipulating physics to slingshot you across the map. I mostly use them here like I did in 2021, pulling off one-man flanks on jerks attempting to take my team’s objectives. This time, though, it only takes one button to create both ends of your personal wormhole when shot in succession, making them much more convenient to use. It comes at a slight cost, in that opening one of your portals on top of an enemy’s is the only way to close theirs, and that can force you to close off your own routes. But after logging 10 hours this week, I much prefer this minor drawback over the anti-portal grenades of yesteryear.

Movement always felt smooth, quick, and controlled in Splitgate thanks to its fast (but not too fast) sprinting and the limited jetpacks. In Splitgate 2, both of these things combine with a new slide mechanic to make getting around the maps feel like I remember my best rounds of Titanfall. The jetpack seems more powerful, with more lift before cooldown than the original’s version. Being able to stay aloft for longer means firefights more often begin or end in the air, adding a level of dynamism that makes every skirmish a challenge at every angle.

The arsenal isn’t much different than the original, though, which is a shame because it’s not very imaginative. Most weapons have slick futuristic curves and color schemes but function exactly like the assault rifles, SMGs, and carbines you’ve wielded in other games, and I wasn’t motivated to do much exploration of the options or customization of loadout presets because of it. They really just make me want to sprint to grab power weapons, which spawn with some fanfare on neutral points during matches, as soon as possible. These returning super guns have gotten a couple of notable additions to their lineup, including my favorite: a pair of machine pistols that can be combined to form a longer machine gun when aiming down the sights. These are all awesome, game-changing weapons that are worth the effort to secure every time they’re available.

Mechanically, the biggest change to the way Splitgate 2 plays is the addition of three character classes, avatars of competing corporate entities who settle their differences in this futuristic sport of gun-toting portal slipping. Sabrask, Meridian, and Aeros all have their own unique active abilities, like Sabrask’s Smart Wall, which plops a one-way bullet shield that protects anyone standing behind it while being free to shoot through it at the enemy (much like non-portable version of Reinhardt’s shield in Overwatch). They each also have passive effects that they can grant their whole team simply by being present, incentivizing teams to have at least one of each in play. That means actives are more obviously impactful than the passives, largely because I’ve yet to play a game where every team involved wasn’t receiving boosted health regen from Meridian and faster ability and equipment recharges from Aeros and Sabrask, respectively. Is it really a “boost” if it’s basically the standard?

I think there’s an argument to be made that the choice to forgo class-based, hero shooter-y design was a keystone of the monument to the past’s simpler shooters that the original Splitgate was building. It meant every player started from the same base capabilities and had to earn every advantage during a match. I am sympathetic to this old-school Halo-style mentality, but I’ve come to prefer the diversity of these three new classes, which add just enough tactical expression to give old people like me a chance against fast-twitch no-scoping youth so long as I can out-think them.

Matches, regardless of which of the suite of returning modes you’re playing, are almost always more fun on smaller maps, which may not be as interesting as they were in Splitgate but at least are built to take the most advantage of portaling in a way that ensures you’re never too far from the action. Larger maps, like the ones found in the new three team, 24-player Onslaught game types that supersize Team Deathmatch and Hotzone, can feel almost lonely because you have to run a fair distance to find some other players exchanging fire before plotting your portal game. It’s a bummer then that all of these new modes rely on increasingly isolatingly large play spaces.

Across the board, it strikes me as odd that maps seem to deemphasize the advantage that using portals would have – so many objectives sit in places completely hidden from a portal wall, and it felt much more difficult to use portals for aggressive pushes. Fortunately for me, someone who mostly uses portals to set traps and for escapes, and I felt like Splitgate 2’s layouts firmly establish that my more passive approach is the right way to play. Firstly, thank you so much 1047 Games, but secondly, this means that offensive strikes on objectives, especially the ones you have to hunker down on like in Firecracker or Domination, happen with the kinds of jetpack assaults and high-energy flanks that you could do anywhere else. Even modes that require lots of movement or rotating objectives, like Splitball and Hotzone, don’t afford many more opportunities to use the feature in a way that couldn’t be done without it. The most damning realization of this came when I was playing one of the No Portals limited-time playlist maps and realizing my games didn’t feel all that different without them.

Finally, the big new marquee feature of Splitgate 2 is the battle royale mode, which at the time of this writing, I haven’t spent too much time with (hence why this review is still in progress). But from what I have played, it operates mostly as expected: many teams of four drop into a semi-random zone on the map and fight each other to be the last squad standing. The wrinkle it adds to the genre (besides portals) is that the greater map is made up of four smaller maps connected to one another by jump paths and tunnels. Splitgate 2’s version of the storm closing in around you is shutting down one of these regions, forcing all surviving squads toward each other in a shrinking set of rooms. These maps are styled as different environments – there’s a snowy zone and a lava zone, for instance – so it’s easy to communicate which one you’re talking about when planning with your team. I haven’t noticed if these zones have too many differences from one another outside of how they look, though. Does the lava burn you? Does the ice make you slide uncontrollably? I’ll report back when I wrap up this review next week.

Tons of Magic: The Gathering sealed products are on sale at Amazon right now. From commander decks and bundles to booster boxes and prerelease kits, if you’re a MTG player you should definitely check out this sale. Aetherdrift, one of the latest expansions from 2025, is one of the main focuses of the sale, but you can pick up some other sets like the Tarkir: Dragonstorm Jeskai Striker Commander deck.

Be sure to also check out our MTG Father’s Day gift guide for the best gifts and accessories for that special Magic player in your life.

Magic: The Gathering Sealed Product Is On Sale

Here’s how these products break down, like what’s included and how much they cost:

Aetherdrift Collector Booster Box $174.99 (42% off)

Booster boxes are the perfect way to start and bolster your collection. The contents of a single collector booster pack vary by set, but here you can find exclusive foils, Japan Showcase cards, or a special serialized card. The booster box comes with 12 packs each with 15 cards inside and two foil box toppers (special art foil cards).

Aetherdrift Bundle $29.99 (44% off)

Bundles are a more affordabale way to jumpstart your collection. These typically include nine booster packs, a promotional or alternate art card, 40 extra basic land cards (20 foil, 20 regular), and a spindown life counter die. You can also use this as a card storage box.

Aetherdrift Finish Line Bundle $62.50 (22% off)

Aetherdrift’s Finish Line bundle is similar to the regular bundle but is a bit more premium. It includes six booster packs, three extended art cards, two foil box toppers, 20 foil basic lands, and special spindown life counter die.

Aetherdrift Prerelease Kit $22.95 (23% off)

Prerelease kits are usually sold the week before a set’s wide release and contain a certain color or archetype that ties into the set’s mechanic. There are often leftover kits for you to purchase after a prerelease event which contains a spindown life counter die, six booster packs, a foil premium stamped card, and one special promo card.

Aetherdrift Commander Deck – Living Energy $28.99 (36% off)

Commander is easily the most popular casual format among both new and old players. Whenever a new set is released, commander decks (100 card single-copy format) are released alongside it. The Living Energy Commander deck is one of these, which includes the full 100-card deck, two foil borderless Commander creatures, and a deck box.

Magic: The Gathering – Final Fantasy Cards Are Also Available

The next main set will be the Final Fantasy collaboration. Easily one of the most popular Universe Beyond set, Final Fantasy is bringing newer players on in droves. This set releases in full June 27th. You can pick up a starter kit to learn the game, one of four commander decks, play booster boxes and bundles, or single booster packs. Good luck – these go out of stock fast.

Myles Obenza is a freelance writer for IGN. Follow him on Bluesky @mylesobenza.bsky.social.

There are many terrifying foes in Elden Ring Nightreign, from standard enemies all the way up to the imposing Nightlords. But one in particular seems to give many Nightfarers pause, or even cause them to turn and flee. It’s the Bell Bearing Hunter.

Now, if you’ve only started Elden Ring Nightreign, this could be confusing. The standard boss version of the Bell Bearing Hunter is someone you can potentially fight early on, at the conclusion of the first night while hunting the Nightlord Tricephalos. He’s also a returning fight from Elden Ring proper, so you’d assume returning players would have him figured out.

But in Elden Ring Nightreign, bosses can spawn both at night’s end and in the field, and pack more punch than they previously did in Elden Ring. And this version of Bell Bearing Hunter seems to be doing some real damage.

Players have been putting in hundreds upon hundreds of runs since Elden Ring Nightreign came out, and while there’s certainly been discussion over which bosses are the best or most difficult, the Bell Bearing Hunter comes up pretty often. Specifically, when he’s in the castle. As one post notes, he seems more powerful when he has a roof over his head? Maybe he got a good night’s rest.

Different variants can also cause problems, and the Bell Bearing Hunter can also sometimes appear in other locations, too. The boss is already fairly intimidating, with a sword that he can swing in close range or wield, seemingly telekinetically, at long ranges. But in the castle? He’s got some aura.

Not all hope is lost, though. One Redditor has discovered some new tech that most have probably never thought to try, that could thwart the Bell Bearing Hunter in his tracks. Or at least keep him walking in place long enough to wail on him. This user seems to have put the Bell Bearing Hunter into a permanent walk cycle by just, uh, walking at him and guarding. So taunting him into defeat, with some ranged help, might actually work?

We’ve got plenty of Nightreign tips and tricks to help you take down all the eight Nightlord Bosses, and if you’re wondering how to unlock the two locked Nightfarer Classes, check out How to Unlock the Revenant and How to Unlock the Duchess, plus How to Change Characters.

Eric is a freelance writer for IGN.

If you know anything about gaming, you probably know the name ‘Mario Kart.’ Since 1992, the series has been a pillar of Nintendo’s output and a quintessential example of the company’s “easy to pick up, difficult to master” philosophy. The series has now become so popular that it’s arguably eclipsed the Mario platformers as the principal arena from which people know the red-capped Italian plumber.

The series began back on the SNES with Super Mario Kart, which introduced a formula that fans fawn over to this day. But while the core of that first game has remained intact over the years, many of the components have been completely reinvented with the series’ latest title, Mario Kart World for the Switch 2. With that new game now out in the wild, it’s a great time to look back on each game in the series to see how they iterate on the formula, how they reflect the state of Nintendo at the time of their release, and whether or not they hold up to this day. Here’s every Mario Kart game, ranked.

11. Mario Kart: Super Circuit

Despite being one of the handheld’s best-selling games, Super Circuit goes down as one of the least replayable Game Boy Advance titles. Considering the series had gone 3D five years earlier with Mario Kart 64, Super Circuit feels like a significant step backward. The character models and backgrounds have a bit more depth than what’s showcased in the original SNES Mario Kart game, but the courses themselves are tarnished by flat, ugly textures that fall short of the handsome results the GBA proved itself capable of elsewhere.

What Super Circuit did have going for it at the time was being the first handheld game in the series. Its bare-bones approach to character selection and game modes reflects its jump-in/jump-out philosophy, which trades expansiveness for approachability – something that came in clutch when an hour needed to be killed on a car ride. Super Circuit had its place back in 2001 and was never supposed to be in significant competition with the console versions, but that means there’s no real reason to return to it today.

10. Mario Kart Tour

It’s easy to discredit Mario Kart Tour for being a mobile game, but this micro version of the classic formula has genuine merits. Chief amongst them is the visual flare the game boasts, with some simply gorgeous course designs. Being so close to the screen allows you to fully appreciate the details on each unlockable kart, character, and race track, which makes even the slow 50cc races that bit more engaging.

Additionally, the return of character-specific items is very welcome and something fans had been wanting to see in the console games since the days of the GameCube. What Tour misses out on is the feel of the console Mario Kart games. Sliding your finger across the screen is nowhere near as satisfying as pressing physical buttons, even if Mario Kart is just pressing A, R and L most of the time.

9. Super Mario Kart

It’s hard not to appreciate what a winning formula 1992’s Super Mario Kart introduced. Over 33 years later, the core of the game remains intact. Grand Prix and Battle Mode aren’t in every subsequent Kart entry for the sake of tradition – they just never stopped being entertaining. The fact that this game not only launched the franchise but also an entire genre of games is nothing to be sniffed at.

However, most of the praise you can heap on Super Mario Kart is because of its legacy rather than its ability to hold up in the modern age. Looking back, it’s difficult to get over the simplistic graphics and lack of mechanical depth, even if you can appreciate how cutting edge it was at the time. Still, it provided a platform for one of the biggest brands in gaming, and who knows what Nintendo would look like today without it.

8. Mario Kart 64

The second game in the Mario Kart franchise feels instantly more dynamic than its predecessor. The 3D graphics allow for more interesting course design, shifting camera angles, and an enhanced sense of speed, especially thanks to the boost you can get from drifting. The extra detail in the character animation also goes a long way to immersing you in these races, which feel more like grand and intense sporting events than simple video game laps.

In the modern day, Mario Kart 64 suffers from issues similar to what Super Circuit and Super Mario Kart do; this same thing has simply been done better by subsequent games, and there aren’t enough unique qualities about this one to routinely go back to it (which is perhaps the key issue with a series that remains so faithful to its core – the new one with its minor improvements is so frequently the best). Still, MK 64’s transition to 3D and its capacity for 4-player co-op means it’s cemented in the hearts of many fans, and often nostalgia is worth more than technical progress.

7. Mario Kart 7

Coming in at number seven is — you guessed it — Mario Kart 7. While it may not hold up as a standout today, it did introduce elements that are now difficult to imagine the series without. Hang gliders feel so core to the flow of MK8, as does the ability to drive underwater and customise your kart, but those features all arrived on the 3DS first with Mario Kart 7. The underwater sequences, in particular, are a visual treat that really hammer home the generational gap between the DS and 3DS. Meanwhile, kart customisation adds a level of strategy to a series that revels in chaos, perhaps in response to the outrageous unpredictability of Mario Kart Wii.

However, going back to the game in a post-MK8 Deluxe world makes all these elements less impressive. When a handheld game with better graphics, many of the same gameplay mechanics, and 64 more courses is readily available, the reasons to play Mario Kart 7 in 2025 are few. It’s a vital part of any 3DS library, though, even if it does lose points for not having Waluigi in the game. What was Nintendo thinking??

6. Mario Kart Wii

Mario Kart Wii cemented this franchise as a household name. The Wii, of course, vastly expanded the gaming population and Mario Kart had one of the lowest barriers to entry, coming with the Wii Wheel to further accommodate the new motion-controlled gameplay. Though not the preferred way of driving in subsequent entries for a lot of players, there’s a reason why tilt controls are still an option in Mario Kart 8 Deluxe and MK World – so many players had their first Nintendo karting experience this way.

Mario Kart Wii has always stood out for being more loose and chaotic than other games in the series, gaining a reputation for rampant blue shells taking out players seconds away from finishing first. But MK Wii has other unique flavours; it includes the series’ first truly robust online play system, improving on MK DS’s slim first iteration, and adds bikes to the list of vehicles. The latter has less concrete impact than the former but does add to the iconic status of the game. It’s impossible to imagine Princess Peach using anything else now.

5. Mario Kart 8

Nintendo’s philosophy during the Wii U era was wrought with overwhelming tones of vanilla, and the company’s most successful franchise was a victim of it. Mario Kart transitioned to HD well, with MK8’s graphics being absolutely gorgeous, and the series’ core gameplay held intact, making for a game that you could never call bad.

But the original version of Mario Kart 8 is, dare we say it, dull. It is too safe. The best Mario Karts put a unique spin on the formula, but MK8’s introduction of anti-gravity is barely noticeable. Instead, the big hitters are the hang gliding and underwater sections, which means it all feels a bit too much like Mario Kart 7, but in HD.

Additionally, Battle Mode is stripped down to almost nothing, which robs gamers of a beloved way to play. All this meant that MK8 didn’t really have its own identity until the improved Deluxe version hit the Switch three years later in 2017. But that Deluxe package would be nothing without a truly solid foundation, and that’s what you get in Mario Kart 8.

4. Mario Kart DS

The Mario Kart formula has existed for 33 years, so any game that alters it in any significant way is going to stand out. Mario Kart DS may offer the classic Kart gameplay in Grand Prix Mode, but it experiments wildly in the unique and brilliant Mission Mode. These objective-based activities range from simple time trials to genuine boss battles, and each asks you to master a whole new set of skills beyond just flying through courses and understanding shortcuts. As a result, Mario Kart DS is more enduring than many of its peers as a purely single-player experience.

Mission Mode is just one of the things that helped Mario Kart DS achieve its iconic status, though. Its integration with DS Download Play introduced a social element unseen on a handheld prior, allowing multiple DS consoles to join a race using just one copy of the game. And in addition to introducing original courses like Waluigi Pinball and Peach Gardens, MK DS is the first in the series to feature retro tracks, an idea now at the core of what people look forward to with any new Mario Kart. It was a triumph back in 2005 and Mission Mode makes it a unique and highly replayable entry in the series to this day.

3. Mario Kart World

Despite being the newest entry on this list—like, it’s a week old—Mario Kart World successfully covers a lot of new terrain for a franchise that’s over thirty years old. First off, it is undeniably the best-looking game in the series and an immediate contender for the most graphically impressive game Nintendo has ever developed. Playing on handheld and taking in every detail of MK World’s vast, interconnected courses is a dream. It’s a magical experience when you’re driving along and can spot the outline of a familiar track out in the distance.

But it’s what World introduces mechanically that sees it rise so high on our list. The ability to drive on walls and grind on rails feel like what MK8’s anti-gravity should have been: new skills that take a lot of practice to be fully mastered. It’s something that you cannot say for new mechanics introduced in almost any previous entry. These skills add great texture to the new modes, such as Free Roam and Knockout Tour, which are great additions that will hopefully remain important cornerstones of future games. The last-one-standing Knockout Tour ramps up the chaos that we’ve always loved from Mario Kart games, while Free Roam’s open world adds a completely new exploration flavour to the series. There’s also some of MK DS’ Mission Mode to be found in the snackable (and often fiendishly difficult) P-Switch challenges. Throw in all the familiar modes we know and love, as well as an instant classic of a soundtrack, and you have one of the ultimate Mario Kart experiences.

2. Mario Kart: Double Dash!!

Mario Kart: Double Dash!! is packed full of personality in a way the majority of the games in the series are not. Having not one, but two exclamation marks in the title makes that clear. The principle feature of having two racers per kart is a stroke of genius, and it’s sort of unbelievable that it’s not been a mode in every Mario Kart since. The double driver system, and the unique items each driver is assigned, allows for so many new styles of play and strategy that prove far more interesting than customising the vehicle you’re using – for example, Mario’s special items provide a speed boost that helps balance out the heavier characters who have more destructive items unique to them. The imagery of it all is also so goofy and fun… maybe a little too much fun for Nintendo to have fully committed to it in the games since.

Even with different characters, Mario Kart gameplay can eventually feel a little too similar after several hours of play, and so having Bowser’s giant shells rampage across the tracks definitely helps with that. Mario Kart needs more risk takers and rule benders like Double Dash!! – let’s hope the formula-breaking Mario Kart World is a sign of things to come.

1. Mario Kart 8 Deluxe

Mario Kart 8 Deluxe showcases Nintendo’s ability to take a decent game and turn it into a cultural juggernaut. Fixing the original version’s anaemic Battle Mode and allowing players to hold an extra item were easy wins, but nobody could have expected just how much the game’s scope would increase. When launched alongside the Switch in 2017, there were fun additions to the character roster like King Boo, Bowser Jr. and the Inklings from Splatoon, but it was the Booster Course DLC that would really cement MK8 Deluxe’s superiority amongst other games in the series.

Now boasting 42 characters and an eye-watering 96 courses, MK8 Deluxe has become a fan favourite through sheer variety. If there was a course you loved from Mario Kart past, chances are it’s been given a new lease on life in HD. Not every course is a winner, and the mechanics don’t reinvent the wheel in any significant way (again, this is essentially a bigger and better MK7), but 68 million copies sold more than shows the fan appreciation for this brilliant iteration.

Ryan Gaur is a freelance writer who has worked with the likes of RollingStone, Empire, Polygon, IndieWire, Skwigly, CartoonBrew, OkayPlayer, Animation Mag and more.