Category: IGN

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Blizzard Entertainment is just one day away from unveiling the future of Diablo with its 30th Anniversary Spotlight.

Just like last week’s gargantuan Overwatch Spotlight, the February 11 presentation is said to show an extended look at new announcements and updates for the classic dungeon-crawling franchise. That means reveals for Diablo 4, Diablo 2: Resurrected, and Diablo Immortal, as all three games seek to keep players scrounging for loot in 2026.

Unlike the presentation for its hero shooter, Blizzard has given fans a taste of what to expect. Diablo 4, which launched in June of 2023 and received its Vessel of Hatred expansion in October 2024, is barreling toward the launch of its next expansion, Lord of Hatred, this April. We already know one of its two new classes will be the Paladin, but Blizzard says the Diablo 30th Anniversary Spotlight will come with a look at the yet-to-be-revealed class, too. The World of Warcraft company also teased that fans should expect a deep dive into “major updates to skill trees” as well as its new endgame systems.

Diablo 2: Resurrected is an unexpected but welcome addition to the Spotlight. Blizzard has been coy when it comes to what it will show for its Diablo 2 remake, only teasing that “there’s a lot we want to share with you,” as it prepares for the launch of Ladder Season 13 February 20. Some are hoping for quality-of-life changes while others speculate about a potential Steam release, but with the 2021 remake largely remaining faithful to the original 2000 experience, it’s hard to say what its future holds.

Finally, there’s Diablo Immortal, Blizzard’s 2022 mobile spinoff. A closer look at the 2026 roadmap is locked in, as the company has told players its ongoing story will carry them “deeper into a world shaped by corruption, conflict, and consequences.” Its blog post on the matter promises more information about a new class, a new region, and “the return of a malevolent force.”

The Diablo 30th Anniversary Spotlight premieres tomorrow, February 11, at 2pm PT/5pm ET, and can be streamed on Twitch and YouTube. Keep an eye on IGN for a breakdown of all of the biggest announcements and reveals but, in the meantime, you can check out our reviews for Diablo 4, Diablo 2: Resurrected, and Diablo Immortal.

Michael Cripe is a freelance writer with IGN. He’s best known for his work at sites like The Pitch, The Escapist, and OnlySP. Be sure to give him a follow on Bluesky (@mikecripe.bsky.social) and Twitter (@MikeCripe).

Magic: The Gathering just had its most financially successful year yet, Hasbro has announced. And it’s largely thanks to its collaborations with other brands, via its Universes Beyond and Secret Lair releases.

In its earnings call today, Hasbro revealed that MTG revenue was up 59% year-over-year, in no small part thanks to the Avatar: The Last Airbender set last year, which is now the third highest-selling set in Magic history after Final Fantasy and Lord of the Rings. Other Universes Beyond sets, as well as Secret Lair, also had a hand in the success.

That 59% is a huge increase, and one that is responsible for Hasbro’s overall numbers looking good. The company overall was up 14% year-over-year, almost entirely driven by 45% growth in the Wizards of the Coast and Digital Gaming segment (Monopoly Go! also helped a little). Its other segments, Consumer Products and Entertainment, both saw declines of 4% each.

The revenue-raising capabilities of Universes Beyond and Secret Lair are a helpful look for Hasbro’s C-suite, which has found itself the target of a shareholder lawsuit on the very subject recently. The lawsuit alleges that Hasbro has mismanaged Magic: The Gathering by overprinting sets of cards, specifically Universes Beyond and Secret Lair, thereby devaluing existing cards. The complaint itself contains some pretty sharp accusations that the company’s top brass have been holding such sets in reserve to deploy whenever the rest of the company is struggling.

In response, Hasbro has stated that such claims have “no merit,” and has recently moved to dismiss a similar lawsuit with very similar accusations filed in 2024 by the West Palm Beach Firefighters’ Pension Fund and City of Miami General Employees & Sanitation Employees’ Retirement Trust, on the basis that the complaint has been amended so significantly since it was originally filed that it is no longer related to the original issue.

Hasbro reached out to share the following updated statement on these lawsuits as pertains to its earnings today:

As we shared when you covered the matter in January, these claims have no merit. Our strategic plan for Magic was implemented, and the results underscore the strength of that strategy. As further reflected in our earnings results released this morning, Magic: The Gathering just completed its most successful year ever.

Magic: The Gathering’s next set will be a Universes Beyond set for Teenage Mutant Ninja Turtles, complete with commander deck, and will release on March 6.

Rebekah Valentine is a senior reporter for IGN. Got a story tip? Send it to rvalentine@ign.com.

Mewgenics, the cat-breeding tactics roguelike from the developer of The Binding of Isaac, has hit the ground running to say the least. It’s already made back the cost of its roughly seven-year development, blew past internal sales expectations, and is currently approaching the highest peak concurrent player count of Isaac itself – and it only launched today at 6am PT.

“So far this is beating expectations by quite a lot,” developer Tyler Glaiel tells IGN, saying it likely took less than three hours for development costs to be fully recouped. “Its a bigger launch than any of the Isaac expansions already, and its only been a few hours.”

His partner Edmund McMillen, best known for games like Isaac and Super Meat Boy, put just how wide of a gap that is into a perspective: “I think the highest sales day for any game of mine, release-wise, was [The Binding of Isaac:] Rebirth, and it sold 40,000 units I think day one.” By comparison, McMillen says Mewgenics sold around 152,000 copies in its first five-and-a-half hours. “Isn’t that kind of insane?”

Mewgenics is also sitting at more than 63,000 concurrent players on Steam at time of writing, creeping steadily towards Rebirth’s all-time peak of 70,701. “We knew the game was good and would do good,” Glaiel says, “but Isaac is *HUGE* so we thought it was unlikely to beat that.” There are also almost 85k people watching it on Twitch – one of which is McMillen himself, who says he’s enjoying watching Northernlion be so immediately good at it.

The critical reception for Mewgenics has been glowing as well, currently sitting at an 89 on sites like Metacritic and 96% positive user reviews on Steam (with roughly 1,700 in at the moment). IGN’s own Mewgenics review gave it a 9/10, saying it’s “a fantastic tactical RPG that’s good for more than a hundred hours of roguelike runs. Just when you think you have it figured out it’ll throw something completely unexpected and hilariously gross at you – and probably a catchy new original song, too.”

Tom Marks is IGN’s Associate Reviews Director. He loves puzzles, platformers, puzzle-platformers, and lots more.

The newly-rebranded Overwatch just benefited from its best weekend player count “in over a year” across all platforms, developer Blizzard has said, as the game’s new Season 1 officially goes live today.

Players have flocked back to Overwatch following last week’s big Spotlight reveal event that confirmed the sequel was ditching its “2”, adding a host of new heroes, and telling a fresh interconnected narrative over the next year.

An early access launch for new hero Anran also helped draw players in, while the company has quickly addressed calls from fans and the game’s English-language voice actress for tweaks to the character’s design.

As reported earlier this week, Overwatch had a particularly strong weekend on Steam — where the game recorded its best player count since launch. Last week’s announcements continued with confirmation of an upcoming Nintendo Switch 2 port of the game, scheduled for release sometime within its new Season 2.

Here’s everything that’s live today, alongside the launch of Season 1:

Overwatch Season 1 — February 10

● Five New Heroes at Launch: Jump in to experience five new heroes right now, with five more coming throughout 2026 (one per season).

○ Domina (Tank), a long-range, zone-control Stalwart Tank hero and vice president of the Vishkar Corporation.

○ Emre (Damage), a fast-paced, run-and-gun Specialist Damage hero with cybernetic upgrades.

○ Mizuki (Support), a versatile Survivor Support hero aligned with the Hashimoto clan.

○ Anran (Damage), a fire-wielding Flanker Damage hero, Overwatch recruit, and Wuyang’s older sister.

○ Jetpack Cat (Support), a permanently flying feline, acting as a Tactician Support hero with quick reflexes and Hero towing abilities

● The Reign of Talon: For the first time, Overwatch is telling a fully connected narrative across an entire year, following Talon’s rise under new leadership. Follow along on this new story with our latest cinematic, as well as ongoing motion comics, animated Hero trailers, short stories, and more.

● Conquest Meta Event: Conquest is a five-week faction-based event where players align with Overwatch or Talon, completing missions and earning rewards along the way.

● Gameplay, Competitive, and Systems Updates: Season 1 includes new role sub-roles and passives for all Heroes, a competitive year reset with rewards and rarity titles, Stadium updates, a full UI/UX refresh, and new systems like Praise.

● The Overwatch x Hello Kitty and Friends collaboration is available now, introducing colorful, Hello Kitty and Friends-inspired skins plus themed extras like name cards, sprays, emotes, and more. Available now through February 24, the crossover introduces skins for…

○ Juno as Hello Kitty

○ Widowmaker as Kuromi

○ Mercy as Pompompurrin

○ Lucio as Keroppi

○ D.Va as My Melody

○ Kiriko as Cinnamoroll

● Skins and Cosmetics: Season 1 includes faction-themed skins, new themed bundles, a Mercy Celestial Guardian Mythic, Juno’s Star Shooter Mythic Weapon, and a Lootbox pool refresh including skins from the past six seasons.

After all that, Overwatch’s new Season 2 will introduce a fresh hero, mythics and a celebration of the game’s 10-year anniversary later this spring. Another hero joins in Season 3, due this summer, alongside the Japan Night map and more mythics. Later this summer, Season 4 drops yet another new hero and includes activity tied to BlizzCon and the Overwatch World Cup.

Catch up with everything else announced last week at Blizzard’s Overwatch Spotlight event right here.

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

I’m sure I’m not alone in thinking that mixtapes (or Spotify playlists now) were an important part of those crucial, formative teenage years. I’m also sure that I’m definitely not alone in the shared experience of putting together the perfect playlist to share with my friends or a significant other. Simply put, those playlists tell a story. And while the ones from my teenage years may seem like nothing more than whatever cool metalcore bands I was into and in at the time, te memories created from those long lost CD-Rs and iTunes playlists still stick with me years later.

The importance of music during that formative but extremely awkward time is how we expressed ourselves and built an identity. The subgenres and scenes were as important to me as anything during those teenage years playing in garage bands, getting sunburned at the Warped Tour, and sifting through thousands of MP3s on my beat-up laptop in order to build that week’s lineup of songs.

In video game form, Mixtape does – at least so far – an excellent job at invoking the feeling of needing that perfect soundtrack for day-to-day life. From the start of the demo, I was skating in a picturesque northwestern town during golden hour while listening to Devo’s “That’s Good”. The vibe check was passed immediately when the protagonist, Stacey, breaks the fourth wall and explains the importance of good headphones and a good playlist. Mixtape’s presentation is a hybrid of a traditional point-and-click adventure similar to Life is Strange, mixed with abrupt but natural fourth-wall breaks for exposition and what the characters are feeling in that moment. While this isn’t a new thing, very few games have managed to pull it off like Mixtape does, and it has yet to overstay its welcome.

From the few chapters I’ve played, Mixtape seems best described as a blend of a video game and a stylish TV show. The camera work and intentionally low frame rate animation on the characters lend a charm to it, and the dialogue, while a bit campy, never took me out of the moment. Stacey, Slater, and Cassandra are very much your typical teenage archetypes in the best way possible. While they weren’t annoying or overbearing like some rebellious teen-fronted games tend to be, the trio are definitely written in an unrealistic way that works perfectly for the story Mixtape is trying to tell. It’s obvious that these three are meant to be stereotypical in a way that evokes a feeling of nostalgia from the player. There were a few moments where I found myself saying “been there before,” and for a story that’s clearly trying to invoke a specific feeling of anemoia (nostalgia for a time that never existed) with the player, it nails that.

Let’s talk about Mixtape’s namesake. The music here, while not necessarily anything that would have landed on one of the thousands of CD-Rs I made as a teen, is outstanding. In the little bit of the campaign I played, the needle drops included a mix of songs ranging from Devo to Silverchair, which show the potential diversity of Mixtape’s final soundtrack, and I’m glad the developers at Beethoven & Dinosaur didn’t go with your run of the mill “safe” selection of hits from the ‘90s. It’s obvious that the team is digging deep with the music selection in order to not only tell its story about music snobs hoping to craft the perfect mixtape in order to get a job as a music supervisor, but also tell the story about the final day of three teens’ high school years.

Of course, vibes and music aren’t everything when it comes to video games, and the gameplay is where Mixtape started to feel a little flat. While there were a few moments in the demo that required a bit more interactivity than finding something highlighted on screen, such as escaping from the police in a shopping cart, throwing toilet paper at Stacey’s principals house, and positioning Stacey and Slater into various poses in a photo booth, the select chapters I played felt like they were missing the welcome bit of interactivity that other point-and-click adventures offer. While the best moments had a decent amount of gameplay, a few chapters felt like I was watching a (very polished) interactive show rather than playing a video game. That being said, Mixtape’s gameplay isn’t necessarily the selling point here, because every time I found myself thinking about it, something cool would happen on screen, the needle would drop, and I would be pulled right back into Stacey Rockford’s story.

After playing 30 minutes of Mixtape, I can clearly see the direction Beethoven & Dinosaur is looking to take with this ‘90s-set teenage adventure. The visuals are striking, its sense of nostalgia and warmth are unlike anything I’ve seen recently, and the needle drops definitely made me want to play more than what the demo allowed me. Is it going to be everyone’s favorite thing? Probably not, but that’s the fun of making the perfect mixtape, isn’t it?

It Takes Two and Split Fiction director Josef Fares has posted the first photo from the set of developer Hazelight Studios’ next project.

The image shows Fares, dressed in a cosy-looking sweater, in front of three actors in performance capture suits. Clearly, work has now begun on Fares’ next game — and intriguingly, he seems to be doing his best to disguise who the actors are.

With his arm outstretched and thumb raised, Fares is successfully blocking most of all three actors’ faces — and this appears to be by design. “Next game in the making,” Fares captioned the post, with a thumbs up emoji. “We’re back in the kitchen, cookin’ up something really delicious,” the official Hazelight Studios social media account responded, adding: “Now with Strategic Arm Placement Tech.”

✌️We’re back in the kitchen, cookin’ up something really delicious! 🥘

Now with Strategic Arm Placement Tech®️

— Hazelight Studios (@HazelightGames) February 10, 2026

Fans of Fares’ games have commented on the post to say they are suitably uncertain who the actors involved might be — though many more have noted the fact that Fares is using this first sneak peek to showcase three actors being visible. Could this signify a three-player game, after the studio’s recent focus on titles featuring a pair of prominent characters?

“Three-player Hazelight Game?” wondered one fan, Spenny99. “It Takes Three?????” questioned Jcbartlett25. “It Takes Three lookin great Mr. Fares,” added hotpicklepizza.

Co-op adventure Split Fiction launched last year to rave reviews, and went on to sell more than 4 million copies. Its story focuses on a pair of writers, Zoe and Mio, who become trapped in their interweaving sci-fi and fantasy narratives.

“An expertly crafted co-op adventure that pinballs from one genre extreme to another, Split Fiction is a rollercoaster of constantly refreshed gameplay ideas and styles – and one that’s very hard to walk away from,” IGN wrote in our Split Fiction review, awarding the game 9/10.

Fares’ previous game It Takes Two also proved popular, with its story focused on a husband and wife who plan to get a divorce. We called it “a beautiful, breakneck-paced, co-op adventure that’s bubbling over with creativity,” in IGN’s It Takes Two review, which also returned a 9/10.

Before that, Fares previously released prison escape adventure A Way Out, starring two convicts, and Brothers: A Tale of Two Sons, starring… two sons. Should Fares actually be making a three-player game, it would indeed be a break from the norm.

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

Take one look at Zero Parades: For Dead Spies, the upcoming RPG from ZA/UM, and you can immediately see the similarities between it and the studio’s previous game, Disco Elysium. It’s an isometric game with a striking art style, featuring dialogue-heavy gameplay where conversations are displayed vertically on the right-hand side of the screen.

Take a closer look and there are even more similarities. There’s a “Conditioning” system that replicates many of the functions of Disco Elysium’s unique Thought Cabinet. Its story aims to be deeply political and introspective. And then there’s the skills system, which manifests as a sentient inner monologue, commenting on your choices and the world around you.

For some Disco Elysium fans, this overlap may feel uneasy. In 2022, game director Robert Kurvitz and art director Aleksander Rostov – creatives key to the look, feel, and vision of the celebrated RPG – were among a number of staff who left the studio in an “involuntary” manner. ZA/UM claimed they were fired for misconduct, while Kurvitz and Rostov accused the company’s majority shareholders of fraud. Many fans believe those fired to be victims of corporate conspiracy. Those same fans may now be concerned to see the studio building a Disco Elysium successor based on such similar design foundations without the involvement of those original creatives.

In a recent interview, IGN discussed these concerns with Jim Ashilevi, writer and VO director at ZA/UM, and asked why the studio didn’t consider finding a new direction for Zero Parades.

“I think it would have made sense for us to go in a completely different direction if the entire team was comprised of new talent,” Ashilevi said. “But since such a large number of the key players that built Disco Elysium are here to build Zero Parades, it just didn’t make sense for us to just disregard that part of our experience as amateur game makers and start learning new ways of telling stories.”

ZA/UM’s head of studio, Allen Murray, estimates that around 35% of the studio’s current staff roster is made up of people who worked on either the original version of Disco Elysium or the expanded “Final Cut” release. The studio’s total staff numbers around 90.

“We’re still the same people,” Ashilevi continued. “We still have the same interests. The stuff that interests us in the world of video games, but also in other media – in film and literature and theater – that hasn’t changed. Hopefully it has evolved, but I think we’re still basically the same people.

“We’re just going by our gut, basically, and we’re following our own obsessions,” he said. “And a lot of that was present in Disco Elysium. It will be present in Zero Parades as well, largely due to the fact that those are the same people who were there to build that cool world.”

In a previous interview with members of ZA/UM, which took place just prior to Gamescom 2025, IGN asked Ashilevi and lead technical artist Nicolas Pirot how they felt about fans who may be feeling cautious about a new ZA/UM RPG following the departures of Kurvitz, Rostov, and others.

“I understand why some people might have reservations,” said Pirot. “It’s not up to me to tell them what to think or what to experience. I think what we are trying to do is tell an incredible story. And I think all we can do is hope that, when Zero Parades is ready, that people like it enough to participate and to see who we are as a group.”

“We are here to write more stories,” Ashilevi added. “That’s all we’re here for. And if that upsets people or makes them feel cautious, fair. But there is a new game coming out soon and I hope you check it out. And if you don’t like it, that’s fine. That’s completely fine.”

ZA/UM intends to launch Zero Parades this year. An espionage RPG themed around power struggles and failure, the team hopes it will stand distinct from Disco Elysium without “fully re-inventing the wheel.”

Matt Purslow is IGN’s Executive Editor of Features.

Blizzard has said that its Warcraft-themed collectible card game Hearthstone is still not available on consoles because the team needs “a level of investment… to make that happen.”

That’s according to executive producer Nathan Lyons-Smith, who recently revealed that because of the 12-year-old game’s aging code — estimated to be 16 years old — any port to console must be done “right” and only when the team finds “the right time to do it.”

“There’s a level of investment that we need to make that happen, primarily in terms of UI and UX, and making sure that it’s very natural to go and play a card game on those platforms,” Lyons-Smith said, as reported by Eurogamer. “I know it’s possible — Duels of the Planeswalkers for Magic [The Gathering], many years ago now, was absolutely delightful with the controller — so I know we can do it.

“I asked an engineer who’d been on the project a long time, and he estimates the code is 16 years old,” Lyons-Smith continued, “and the team was 15 people 16 years ago. And so there’s more of an effort to go: ‘I want to make sure when we go that it’s awesome.’ That it doesn’t just feel like, yeah, they ported it here, and you can play…

“I want to make sure that when we go, we’re going to go, and it’s going to feel awesome for players that love that form factor, whether they’re leaning back on the couch or sitting on the couch with their handheld.”

Hearthstone originally launched in 2014 on PC, with a mobile and tablet version following very shortly after. Over the years there have been numerous calls for the game to launch on consoles — and particularly Nintendo Switch, for handheld play. But Blizzard has never gotten around to it.

Game director Tyler Bielman added: “If we’re going to bring it specifically to that living room big screen platform, we would want to make sure that the full experience is optimized for that mode that you’re in.”

Now, of course, with Blizzard owned by Xbox and parent company Microsoft, there could be more pressure than ever to bring the hugely-successful card game to console players. However, with Xbox’s high-level goal of enabling gamers to play “anywhere,” the Hearthstone team acknowledged an expectation to go “as wide as we could” to reach as many players as possible, regardless of platform.

“In the future, as we explore console and handheld, we’d probably go as wide as we could,” Lyons-Smith added. “Certainly, we have a different owner now than we did three years ago, and they’re more invested in Xbox and ‘anything’s an Xbox’. Their high-level goal [being] games playable anywhere.”

Hearthstone’s Cataclysm-themed expansion is set to launch on March 17, marking the return of Colossal cards and introducing a brand new story.

Vikki Blake is a reporter for IGN, as well as a critic, columnist, and consultant with 15+ years experience working with some of the world’s biggest gaming sites and publications. She’s also a Guardian, Spartan, Silent Hillian, Legend, and perpetually High Chaos. Find her at BlueSky.