Line of Fire: Burnt Moon Board Game Review

Of the many war-themed board games, Osprey Games’ Undaunted series is arguably one of the best in the current board game generation. These games’ unique deck-building mechanics, mixed with historical theaters of war, including Normandy, Stalingrad, or North Africa, have helped grow its fanbase. And the release of last year’s Undaunted 2200: Calisto took the series from the fields of World War II and into space with a futuristic science fiction entry. Now, the team at Osprey has distilled the experience of the series into a solely deck-building experience with the release of Line of Fire: Burnt Moon. And they’ve done so with a surprising level of success.

Ditching the modular tiles or fold-out boards of the Undaunted games, Line of Fire gives two players a set of five identical location boards, each with an assigned point values. Once all five get randomly placed out for both players, each side deploys forces to the various spots in an effort to hold eight points’ worth of locations, or destroy all of the oppositions land-capturing units, claiming victory.

Turns begin with both players drawing four cards, and secretly selecting one of those to offer up in a bid to gain that round’s initiative. Whoever offers the card with a higher value gets to play first. Both of those cards are then discarded and the first player takes their turn placing out their hands of cards, followed by the second player, and once they are finished, new hands are drawn and the the process starts over.

Set on Jupiter’s moon, Io, in the world of Undaunted 2200, Line of Fire has a science fiction motif. So, instead of troops on the ground, you deploy ROVs – Remote Operated Vehicles – into the warzones. ROVs are composed of four different varieties, divided into A and B forces. Each ROV type has special actions it can take. For example, the MOSS units allow you to capture locations, while the DaCU units can build fortifications that can only be activated by playing an identical unit card on a previously deployed card. Players also have access to a small selection on personnel cards which provide benefits including adding cards to your deck or disabling an opponents ROVs, further adding strategy elements to Line of Fire.

For players who are familiar with Osprey’s Undaunted titles, many of Line of Fire’s mechanics will feel identical, from the initiative bidding to removing casualties. When a unit is destroy in Line of Fire, players first try to remove a copy of that card from their hand. If none are in their hand, they then search their discard, then their deck, then the reserve, and lastly remove the unit on the board that is being attacked. I personally love this approach, as I find searching for hold cards and seeing your supply slowly dwindling away to be far more of a tense experience than simply removing the card that was attacked. It’s also through this method that if ever all of you or your opponent’s MOSS ROVs (the only unit type that can capture) are gone from the deployed regions, you lose.

Despite the box’s small footprint, Line of Fire provides a riveting strategic experience in a fairly short time frame. The matches I played rarely took even a half hour to complete, with games taking even less time the more experience both players have, as you can quickly play your three cards and be done.

The matches I played rarely took even a half hour to complete.

Even with both choices of cards being identical, there is still a good bit of strategy required in Line of Fire. Knowing what cards to add to your deck, where to deploy them, and when to retreat when a battlefield is lost are all key decisions you have to make. Being a deck-building game, there is still some aspect of luck involved, as the cards you have in hand dictate what actions you can take on your turn – but I never found that luck overpowered solid tactics and decision making. That said, I did find that some of Line’s design direction made it harder to get into than I feel it really needed to be, with much of that coming down to the card designs and naming.

Admittedly, I have not yet played Undaunted 2200: Callisto, so this may be less of an issue for some folks, but the naming of the ROVs threw my friends for a loop and never made sense. Terms like “infantry”, “tank”, and “sniper” I can grasp at a glance, but if you were to ask someone which of “MOSS”, “TIR”, “xED”, or “DaCU” was your heavy artillery unit, they would probably look at you and walk away.

Between the random names and various symbols that make almost as little sense as the names, it just makes the cards harder to decipher than they need to be, even with the handy reference cards that both players have. I get that Line is set in the future and leans into the science fiction element, but sometimes it’s just easier to say “my tank is attacking your plane”.

From a visual and component standpoint, Line of Fire is a striking game, with artwork and designs that evoke classic science fiction book covers with blocky-square robots. Both players also have unique artwork for their units, that are also clearly denoted by heavy use of either redish-pink colors or blues for their respective side. This extends even into the storage solution with each player’s cards, fortifications and location tiles all fitting snuggly into a color-coordinated box, that both then are carried in a magnetically sealed box roughly the size of a VHS tape. I’m a sucker for games with good storage solutions, and Line of Fire’s does it’s job splendidly, making it quick and easy to set up and break down, and small enough to fit in your bag to take with you.

Flip 7 Card Game Review

As much as I love a good “heavy” game, one that fills my tabletop with decks of cards, a sprawling board, and colorful assortment of components, I also appreciate a small games that I can bust out at a moment’s notice, that I can teach in just a minute or two, and have a great time with. The newest game in my collection that fits that role spectacularly is Flip 7, a card game we’ve featured as one of the best cheap games you can buy. It was also nominated for the prestigious Spiel des Jahres, and won Board Game Geek’s Party Game of the Year during their Golden Geek Awards 2024. It’s very good.

Designed by Eric Olsen and published by the OP Games, Flip 7 at its core is a push-your-luck game where players race to be the first to reach 200 points by playing cards blindly from a deck of cards that range from 0 to 12. For all the numbered cards (except zero), each card has as many copies as its value – there’s a single 1-value card, two 2s, etc. A player’s turn immediately ends if they ever pull a duplicate value card, they choose to pass their turn and take the points they have earned in that round, or if they manage to flip seven value cards, which also earns the player bonus points. Rounds continue until one player has reached those 200 points.

Despite being a simple game, Flip 7 is visually striking with an Art Deco aesthetic and cards featuring bright colors and large numbers. Each number has its own color, with the modifier cards a bright honey-yellow that contrasts with the more tan-centric backgrounds of the number cards to avoid confusion. As a pleasant added touch, some of the frills and decorations on the cards connect seamlessly to one another, allowing you to create a lovely, rainbow-like collage of cards with each one you pull.

Flip 7 has such a low barrier of entry, really only requiring at least one of the players to be able to do simple math (even that you can mitigate somewhat thanks to the free tracking app), and with games only taking maybe 15 minutes, it makes it an easy recommendation for basically anyone. It’s a game that I could just as easily recommend for my friends I play heavy board games with, or my mom, who is more comfortable in the land of solitaire, and know that both audiences would have fun with it. The fact that this game scales up incredibly well, too, for parties is just an added cherry on top.

Where Flip 7 may be a bit of a turn off for some folks comes from the fact that this game is, at its core, a game of pure luck, with the only strategy coming from whether or not you’ll risk drawing another card to try for more points. Ideally, I would have loved if there was a smidge of a hint of an element that lends itself to strategy in here. Flip 7 fills very much the same spot as, say, an UNO or Skip-Bo, simpler games that appeal to a far broader market – but in those games, players have more choices they can make, as opposed to Flip 7’s only real choices it provides players is to either to draw a card or not play.

Among my collection, I have a very elite selection of games, my Glove Box Collective. These are games I like to keep in my car’s glovebox so that I always have them on hand when I go places. These are games that I can bust out at a moment’s notice, when I have a few minutes to kill, when I’m meeting friends at a local brewery, or am simply visiting family. Flip 7, thanks largely to its quick-to-teach and easy-to-play nature, has earned its spot among this most prestigious collection of mine.

I do wish that there was a bit more player choice involved but the tense “should I or shouldn’t I” nature of the game has led to some great moments of celebration where taking that risk has resulted in me winning a game, and those of frustration where I blew through all of my extra chance safety cards back-to-back only to still lose. But such is life in games of luck.

Where to Buy

PlayStation Exclusive Ghost of Yotei Gets Official Popcorn Bucket Inspired by a Traditional Japanese Rice Bucket

We’re now used to outlandish popcorn buckets for Hollywood movies. Who can forget the Deadpool & Wolverine popcorn bucket from last year, which let people eat out of Wolverine’s head? Speaking of popcorn bucket heads, The Fantastic Four: First Steps’s Galactus head is a gargantuan $80.

Now it’s time for video games to get in on the act. Upcoming PlayStation 5 exclusive Ghost of Yotei is getting its own official popcorn bucket as the video game crosses the divide into blockbuster movie territory.

Alamo Drafthouse Cinema is working with Sony to showcase five classic samurai films inspired by Ghost of Yotei on the big screen in a programming series called Way of the Samurai, and as part of that it will launch a custom Ghost of Yotei-themed menu featuring appetizers, desserts, and cocktails “crafted to complement the mood and mythology of the films.”

But the big draw is the exclusive, 100-ounce Ghost of Yotei popcorn bucket modeled after a traditional Japanese rice bucket. The popcorn bucket launches today, July 17, at AlamoMart.com and will be available in theaters from August 2 to September 4.

The special Ghost of Yotei menu will be available at Alamo locations nationwide during the Way of the Samurai screenings.

The movies are:

  • LADY SNOWBLOOD (1973, dir. Toshiya Fujita) – A blood-soaked tale of revenge that
  • influenced KILL BILL and countless others.
  • LONE WOLF AND CUB: SWORD OF VENGEANCE (1972, dir. Kenji Misumi) – A
  • brutal, beautiful saga of a disgraced samurai and his infant son on a path of vengeance.
  • THE TALE OF ZATOICHI (1962, dir. Kenji Misumi) – The first installment of the
  • legendary blind swordsman series.
  • 13 ASSASSINS (2011, dir. Takashi Miike) – A modern epic of strategy and sacrifice that
  • redefined large-scale action.
  • RAN (1985, dir. Akira Kurosawa) – The master's sweeping tragedy of power, madness,
  • and betrayal.

As for Ghost of Yotei, Sony recently revealed more information on the game during a dedicated State of Play. Ghost of Yotei launches October 2, 2025 on PS5.

Wesley is Director, News at IGN. Find him on Twitter at @wyp100. You can reach Wesley at wesley_yinpoole@ign.com or confidentially at wyp100@proton.me.

Julian LeFay, ‘Father of The Elder Scrolls,’ Steps Back From Game Development Due To Cancer

Julian LeFay, former chief engineer at Bethesda and co-founder of OnceLost Games, is stepping back from game development due to his ongoing battle with cancer, the company announced yesterday.

In a video from OnceLost Games, producer Victor Villareal announced the news. “Our technical producer Julian LeFay, who I’m sure needs no introduction, has been fighting a battle with cancer for the last several years,” said Villareal. “He’s fought bravely and strongly, but it seems he doesn’t have very much time left. He has stepped away from the project to spend that remaining time with his family and loved ones.”

LeFay is often referred to as the “father of the Elder Scrolls” series, as he joined Bethesda Softworks after its founding in 1987 and led the company as Chief Engineer through games like The Elders Scrolls: Arena, The Elder Scrolls II: Daggerfall, and Battlespire. Julianos, the God of Wisdom and Logic, and one of the Nine Divines in The Elder Scrolls, is named after LeFay.

Dabbling in various projects over the years, LeFay co-founded the studio OnceLost Games in 2019 with former Bethesda colleagues Ted Peterson and Vijay Lakshman, to work on a Daggerfall spiritual successor called The Wayward Realms.

Peterson penned a statement, released in the description of the announcement video from OnceLost games, tracing his history with LeFay.

“I could talk stories about our friendship and how we’ve worked together recently with our team on Wayward Realms as creative and technical directors, but I need to come to the point of this,” wrote Peterson. “Julian has been courageously battling cancer. His doctors have informed us that his time with us is limited, and we are preparing to say goodbye to a true legend of the industry.”

Peterson invited fans to share thoughts, prayers, well-wishes, memories, or simply the impact LeFay’s life and work has had on them.

“To me, this is deeply personal, and I regret every second I didn’t spend with one of the most charming, smart, funny, and interesting people I’ve ever met,” wrote Peterson. “It’s also a spur to action for me: I will not let down his legacy.

“That said, a final quote from the eminently quotable Julian LeFay,” he continued. “He said this at our last team meeting, and I believe it represents him and his beliefs well. ‘It is personal. And if it’s not personal, then you’re just doing work for hire and you’ll never have the motivation to accomplish a significant goal.'”

Eric is a freelance writer for IGN.

Despite Laying Off 270 Staff, Development Studio Virtuos Remains ‘Fully Committed’ to The Elder Scrolls IV: Oblivion Remastered, Cyberpunk 2077, and Metal Gear Solid Delta: Snake Eater

The Elder Scrolls IV: Oblivion Remastered development studio Virtuos has said it remains “fully committed” to ongoing work on the game, as well as its contributions to Cyberpunk 2077 and Metal Gear Solid Delta: Snake Eater, despite shedding up to 270 staff.

In a statement today, Virtuous said it was “evolving to meet the changing needs” of its partners and the wider video games industry by cutting several hundred staff members, predominantly from its Asian workforce.

Describing the job losses as a “rebalancing of roles across our studios and geographies,” Virtuos said its changes would impact 200 roles in Asia and a further 70 roles in Europe.

Still, the company has made clear that its team behind the recent, well-received Oblivion Remastered is not among those hardest hit. “Fewer than 10” roles will be impacted in France, Virtuos continued, “where the core team working on Oblivion Remastered is located.” Oblivion Remastered update 1.2 will soon be released widely.

Ongoing work on Cyberpunk 2077 — which only today received its latest patch — will continue, Virtuos assured. The same is also true of its team working on Metal Gear Solid Delta: Snake Eater, due out on August 28.

Discussing its staffing changes in more detail, Virtuos said the company’s focus had shifted over the past 12 months after acquisitions of teams in North America and Europe, and it was now “selectively exiting service segments where demand is weakening.”

“We are grateful for the contributions of those impacted,” Virtuos concluded. “We are providing separation packages, career transition assistance, and opportunities for redeployment across our global network where possible. The company’s immediate focus is on managing this transition with care, transparency, and respect.”

Headquarted in Singapore but with studios across the world, Virtuos employed 4,200 staff before these latest layoffs. The company is a renowned co-development partner that has contributed to a laundry list of recent blockbuster games, from Hogwarts Legacy to Call of Duty, and Horizon Zero Dawn to Mortal Kombat 1.

Virtuos’ Cyberpunk 2077 Update 2.3 is available today for all platforms and adds new vehicles, jobs and a photo mode to CD Projekt’s futuristic open-world, while CD Projekt itself is busy building Cyberpunk 2.

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

Exclusive First Look at 2025 Pokémon World Championships Merch 

The Pokémon World Championships in Anaheim, CA are just around the corner in August, and with it comes an exclusive line of cute Pokémon merch, which IGN has an exclusive first look at. Each year, the Pokémon World Championships hosts a special Pokémon Center pop-up shop, and we’re getting three uniquely themed exclusive lines out of the event this time. Last year, we got a tropical, Hawaiian-themed Pokémon line. Check out the unique new Pokémon items, including a first-ever Pokémon bodyboard, below.

“In honor of this year’s Anaheim, CA location, Pokémon Center will be releasing three product lines – the Varsity Line, SoCal Beach Skater Line, and Rockabilly Line,” said Cindy Ruppenthal, senior director of Pokémon Center and e-commerce at The Pokémon Company International. “This year’s collection draws inspiration from bright, retro-diner design, blending vibrant colors and nostalgic elements that capture the spirit of our SoCal location.”

Check out a large selection of the exclusive merch that will be at the Pokémon World Championships in the slideshow above, but keep in mind, this won’t be everything!

The 2025 Worlds Pikachu Plush sporting a varsity jacket, revealed at this year’s North America International Championships in New Orleans, is sure to be a popular item along with the other SoCal-themed plush of Fennekin, Machamp, and Jigglypuff, but there’s a lot more to look forward to.

The standout premiere item this year is the SoCal Bodyboard, which is fully functional for riding waves at the beach, and is priced at $79.99 USD.

Ruppenthal “expects strong demand” for the SoCal Bodyboard along with other functional items from the SoCal Beach Skater Line, like the SoCal Beach Towels.

“Additionally, following popular reception from Pokémon Worlds in Honolulu, we teamed up with Reyn Spooner to create a Pokémon Aloha shirt, bucket hat, tote, and more to celebrate the event in Anaheim,” Ruppenthal said.

The Reyn Spooner Pokémon Aloha shirts from last year were so popular that I witnessed an attendee offer $300 for the shirt off someone’s back, literally, since they had sold out.

I witnessed an attendee offer $300 for the Pokémon Aloha shirt off someone’s back last year

“With this year’s California location, it felt like the perfect moment to reintroduce the

apparel collaboration as our laid-back, SoCal designs align perfectly with Reyn Spooner’s bright, beach vibe and signature Aloha shirts,” Ruppenthal said.

As far as other exclusive apparel goes, there will be a varsity jacket, “as well as other standout apparel that matches the various design styles offered this year,” Ruppenthal said.

Most surprising of the designs overall this year is probably the Rockabilly line, featuring Arcanine, Squakabilly, and an edgy Pikachu wearing a leather jacket and sunglasses.

“We always keep in mind that the Pokémon community has diverse interests and styles, and as such, wanted to introduce a bolder counterpart to the Varsity Line and SoCal Beach Skater Line,” Ruppenthal explained. “The Rockabilly Line features darker tones and edgier styling – all while staying true to the retro-diner theme found throughout the Pokémon Center Pop Up Shop. It complements the store design, which takes fans through a journey (beach to boardwalk to nighttime).”

The theming Ruppenthal describes is important, as the Pokémon Center Pop Up Shop at the Pokémon World Championships each year isn’t just a plain holding room for goods, but more of an immersive experience to explore while shopping, complete with set pieces and unique art.

…this year, there will be a Pokémon Center special online-only shopping promotion taking place that same week.

Usually, all of the Worlds merch revealed here would be exclusive to the in-person Pokémon Center, which actually runs an additional two days ahead of the 2025 Pokémon World Championship, from August 13 to August 17. However, this year, there will be a Pokémon Center special online-only shopping promotion taking place that same week. During this time, the 2025 Pokémon World Championships Coin will be available online.

We don’t know anything else about this online shopping event, like whether any other 2025 World Championship items will be available, but Ruppenthall said, “It’s our way of making sure more fans can take part in the celebration.”

If you are attending in person, keep in mind that you usually need to make a separate Pokémon Center pop-up store reservation, but right now, the Anaheim 2025 Pokémon Center page says, “More information on how to attend the Pokémon Center pop-up store is coming soon!”

We’ll be sure to cover the Pokémon Center Pop Up Shop and a lot more during the 2025 Pokémon World Championships from August 15 to August 17 in Anaheim, so stay tuned for updates.

Casey DeFreitas is a deputy editor of guides at IGN. Catch her at the 2025 Pokémon World Championships, or on socials @ShinyCaseyD.

Everything We Know About James Gunn’s DCU Video Game Plans

It’s a bird! It’s a plane! It’s the very first movie in James Gunn’s revamped DC Universe!

Now that Superman has hit theaters, James Gunn’s DC Universe is fully underway… Or is it? While Gunn has now released a movie, a TV show (Peacemaker), and an animated series (Creature Commandos) under his stewardship, there’s still a missing piece of the DC Universe puzzle: video games.

Gunn told fans back in 2022 that his master plan for an interconnected DC Universe includes video games. But unlike on the movies and TV side of things, there have been no official announcements regarding what the first DC Universe video game will be.

An absence of reveals doesn’t mean we don’t have a reasonably clear picture of what to expect, though. Across multiple interviews and press events, Gunn and co-studio head Peter Safran have explained their plans, including the fact that while they don’t technically oversee Warner Bros.’ gaming division, there’s now a much deeper collaboration between WB Games and DC Studios that could dramatically alter the way future DC video games are made. With that in mind, let’s analyze what the future of games will look like in the new DCU era.

Gunn Takes Over DC

The first time we learned that video games factored into Gunn’s DC plans was shortly after he and producer Peter Safran were announced as co-heads of DC Studios on October 25, 2022. While answering fan questions on X, Gunn responded to one user who asked if games would be connected to the DCU alongside films and TV. To this, he simply replied, “Yes.

It wouldn’t be until a few months later that Gunn revealed what movies and shows were in development as part of Chapter 1: Gods and Monsters, which is the DCU’s equivalent of the MCU’s Phase 1. And while video games were conspicuously missing from the Chapter 1 roadmap, Gunn told members of the press, “Television, movies, and games all intertwine within the same universe. We’re going to cast actors who are going to be able to play the characters in [animation and TV], as well as in other things.” This was the first clear indication from Gunn that video games were indeed a part of his plans for the DCU.

One important thing to know is that Gunn’s job as head of DC Studios doesn’t include control over any of Warner Bros’ video game studios, which include developers like Avalanche Software (Hogwarts Legacy), NetherRealm Studios (Mortal Kombat), Rocksteady Studios (Batman Arkham), and TT Games (Lego).

Under the current Warner Bros. Discovery corporate structure, Warner Bros. Games exists separately from DC Studios and is overseen by Warner Bros. Discovery’s CEO of global streaming and gaming, JB Perrette. But after Gunn and Safran were named DC co-heads in 2022, Perrette appears to be deferring to the new DC bosses when it comes to matters of comic book video games.

The Walls Break Down Between WB Games and DC Studios

In an interview with Variety in 2024, Perrette revealed, “Frankly, there hasn’t been as close a relationship between the studio and the games business as there should have been. And James [Gunn] is actually a gamer, so having someone who’s passionate about it is super helpful.” Perrette added that the games departments are now “actively working with [Gunn and Safran] on the core franchises within the DC Universe.”

Based on this interview, it appears there was once a wall that divided WB’s gaming division from the movie and TV studios. And according to Perrette, it was only after Gunn and Safran took over DC Studios that a newfound sense of collaboration was achieved.

“Whether it’s NetherRealm or whether it’s Rocksteady, [we] sit with them and talk about characters and stories that we’re interested in and that they’re interested in.”

This dividing wall was confirmed a year later during a DC Studios Presentation held on February 24, 2025. During the event, James Gunn and Peter Safran confirmed Perrette’s statements regarding the separation between the two WB divisions and how that relationship has changed since they took over.

“We work incredibly closely with JB Perrette, who runs that division, and it’s really the first time ever it’s been this way at Warner Bros,” Safran confirmed. “It’s been great, and we’ve enjoyed it enormously. Everything had been so siloed, and now that’s completely broken down, and it’s been great. Because it also applies to consumer products and experiences, and everything that DC touches runs up through us now, which is awesome.”

“James [Gunn] and I sit with literally the guys that run the studios underneath JB,” Safran added. “Whether it’s NetherRealm or whether it’s Rocksteady, [we] sit with them and talk about characters and stories that we’re interested in and that they’re interested in.”

It’s funny that Safran mentions Rocksteady, as it was reported earlier this year that the studio is developing a new single-player Batman game. While it may be too soon to tell, at least according to Gunn and Safran, there will likely be some input from their side of things at DC Studios.

“We see designs for the projects in their very earliest stages,” Gunn said at the event. “When they’re talking about what the story might be, we say, ‘Well, maybe you want to go this way because we’re planning on maybe doing something with this character and so forth and so on,’ and help deal with that.”

Does this mean Gunn will be fully in charge of the next Rocksteady Batman game? Not quite. Gunn confirmed that “not all” games will be connected to the DCU’s overarching story when another fan on X shared their concern about losing standalone experiences like Rocksteady’s Arkham series. So, depending on where Rocksteady wants to take its next single-player Batman game, there’s a chance it could be incorporated into the DCU, or treated as a separate universe like Matt Reeves’ The Batman movies.

Furthermore, Perrette said in the aforementioned Variety interview that WB’s game studios will still be making projects based on what’s best for the studios and gamers, saying, “We’re not going to launch a Superman game purely because we feel obligated. We have to do something that makes sense for the gaming strategy and for fans and for the consumer.”

How James Gunn’s DCU Is Already Shaping Games

Even if DC’s full gaming plans remain a mystery, we’re already seeing Gunn’s unified vision for DC play out in several games right now.

“Our characters can move in and out of animation or jump into a game or onto the big screen, but they will remain consistent throughout: same character, same history, same actor,” Gunn said during the press tour for Creature Commandos last year — a couple months after Peacemaker was added to Mortal Kombat 1 as a DLC character on February 28, 2024.

Just as Gunn said, NetherRealm enlisted John Cena to reprise his TV and movie role as Peacemaker in Mortal Kombat 1. Not only is his likeness and design identical to the version of the character that appears in the HBO series and The Suicide Squad movie, but even his Victory Pose in Mortal Kombat 1 is a direct reference to Peacemaker’s glam rock-themed opening credits.

Similarly, this month’s Superman-themed content for Fortnite features skins for Superman, Mr. Terrific, and The Engineer, which are all based on the likenesses of their movie counterparts. So, rather than a comic-book version of these characters, you’re playing as David Corenswet’s Superman, Edi Gathegi’s Mr. Terrific, and Maria Gabriela de Faria’s Engineer. Like Peacemaker, it seems that any appearance by a DCU character in a video game will be identical to their movie and TV counterpart, just as Gunn promised (with the exception of those standalone projects Gunn also promised, of course.)

“Since taking the reins, our true north has been to bring DC film, TV, animation, and gaming into alignment under a single banner and bring a sense of unity and consistency into the DCU as a whole,” Gunn said ahead of the premiere of Creature Commandos. “This frees us to create a range of products that are diverse and compelling, and deliver great stand-alone entertainment experiences on every medium, while also being part of a larger story that we’re telling within our unified DCU.”

It’s been a rough couple of years for DC games under Warner Bros.. Between the closing of Monolith Software and the cancellation of a Wonder Woman video game, to Rocksteady’s Suicide Squad: Kill the Justice League’s lackluster release, the future of DC video games appeared to be in major flux. Warner Bros. even considered selling off its gaming business entirely.

And while WB Games’ fortunes have changed with the massive success of games like Hogwarts Legacy, there’s still no official word yet on the future of DC video games. But it’s clear based on statements from Gunn, Safran, and Perrette that Warner Bros. Games and DC Studios are collaborating deeply when it comes to any upcoming video game starring DC’s caped heroes. Although the basic expectation is that if a character from DC’s movies and shows appears in a game, it will feature the same actor, the full plans for DC video games, especially from developers like Rocksteady, remain to be seen.

Be sure to check out our full list of upcoming DC movies and TV shows, as well as our Superman review for our full DC coverage.

Matt Kim is IGN’s Senior Features Editor.

Sega Addresses Concerns Sonic Racing: CrossWorlds Will Be Sold As a Game-Key Card on Nintendo Switch 2, Confirms The ‘Full Base Game’ Will Be Included On the 64GB Cartridge

Sonic Racing: CrossWorlds will be sold as a physical Nintendo Switch game with the “full base game” included on a 64GB cartridge.

Switch 2 Game-Key Cards are physical cards that contain a key to download your chosen game. That means there’s no actual game data on the card you insert into your Switch 2, and you’ll instead need to download the full game once the card is inserted. Every Game-Key Card case should be appropriately labeled on the front of the box, but the practice has been troubling some gamers, especially those who prefer to physically own their games, not just license them digitally.

This is particularly good news for Sonic fans because there had been confusion and conflicting reports about CrossWorlds in particular. Now, however, Sega has removed all doubt, confirming in a new FAQ that “the physical version will feature the full base game on a 64GB cartridge.”

The FAQ also confirmed that crossplay will be available for Nintendo Switch 2 players, progress will carry over from the original Switch to the newer edition, and yes, there will be a $10 upgrade pack for anyone hoping to upgrade to the Switch 2 version in the future.

By contrast, Square Enix was criticised by fans earlier this week for confirming there would be “no upgrade path” for its Dragon Quest 1 & 2 HD-2D Remake on Switch 2, and that its save files would not be compatible across platforms.

Sega has said CrossWorlds will feature a huge roster of over playable characters, if you include DLC. Characters you’d expect to see, such as Sonic, Dr. Eggman, Knuckles, Shadow, and Tails are present and correct, but now you can add the likes of SpongeBob SquarePants, Avatar, and Teenage Mutant Ninja Turtles into the mix.

CrossWorlds is, of course, going up against Switch 2 exclusive kart game Mario Kart World, which has so far resisted adding guest characters from outside Nintendo’s portfolio. Sonic Racing: CrossWorlds is set for release on both the Switch and the Switch 2, so it looks like we’ll be set for some old-fashioned Mario vs. Sonic kart racing rivalry when Sega’s effort launches in September.

IGN recently went hands-on with Sonic Racing: CrossWorlds and came away impressed. “It’s a vibe,” we said, “and one that I’ve enjoyed and will look forward to drifting through.”

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.

Amid Fan Confusion Around the Risks of Using a Well-Known Pokémon Go Exploit, the Game’s Developer Responds by Pointing Back to its Terms of Service — Which Lay Out its Rules on Cheating

The alleged risk of using a well-known Pokémon Go exploit is causing widespread confusion among the game’s community, fuelled by a dire warning from a senior player that supposedly originates from the app’s own development team.

Said warning states that Pokémon Go’s developers are aware of the exploit in question — which allows users to interact with in-game locations from further away than normally possible — and consider it “a violation of the Terms of Service of the game.”

Continued use of the exploit is detectable by the developer’s anti-cheat teams, the warning goes on to claim, and risks users’ accounts being flagged for cheating — an offense that can eventually result in a permanent account ban.

The appearance of this message, and the claim it is being passed on from Pokémon Go’s makers, has sparked a firestorm of debate, primarily over the rights and (mostly) wrongs of this exploit being viewed as cheating in the same vein as more nefarious tactics.

Many players have said that this “trick” simply makes use of a unintended bug in how the game functions, and is not comparable to the tools some players use to actively break the game, such as by using third-party apps and hacks to spoof their location.

There’s also a debate over the veracity of the message itself — both over its origins, which appear to be from a senior player marked as a Community Ambassador who has spoken to the game’s developers, and over the likely intent behind what was said.

To understand the nuances here, it’s worth taking a look at the issue in more detail. At a base level, the exploit allows players to access a raid lobby slightly beyond their normal interaction radius via a Daily or Premium Raid Pass, rather than by using a more expensive Remote Raid Pass.

Performing the exploit — referred to locally among players as “flying,” “floating,” or “tricking” — is clearly not intended behavior, but can hardly be considered game-breaking. Accessing a raid lobby that’s less than 100m away but slightly out of your normal range is considered by many players to simply be a convenience — and potentially an aid to taking part in more raids overall, even if this is done so without the top-tier Remote Raid Pass.

That said, a simple glance at the game’s Terms of Service (TOS) shows that, according to the letter of the law, this could indeed fall under the game’s description of cheating as it stands.

IGN contacted the Pokémon Go development team to ask about the origins of the warning, whether the exploit was indeed considered cheating, and what actions players might expect if they continued to use it. In response, a spokesperson pointed us back to the game’s TOS document, and specifically its section on cheating, which we’ll quote below.

Now, it’s entirely possible to see how this exploit could fall under the TOS’ definition of using “techniques to alter or falsify a device’s location” and therefore — again, according to the letter of the law — is something that could be considered cheating.

But by pointing IGN back to its TOS, the Pokémon Go development team is also — deliberately or not — highlighting something potentially crucial around this issue’s enforcement. And that’s the fact that, once again, according to the letter of the law, playing with multiple accounts is also considered cheating — despite it being something that a percentage of the game’s playerbase does, with absolutely zero infraction.

What this may all ultimately boil down to is someone purportedly asking the Pokémon Go development team for its view on an issue that the game’s makers would obviously never sanction, but which seems unlikely to suddenly result in waves of players being banned. And yet, because of the murky origins of the warning, and because nuance can be difficult when messages get passed over the internet, players have now been left aggrieved and concerned.

Will the exploit stick around in the game forever? It seems unlikely. Will players suddenly find themselves banned for using it while it’s still possible? This seems unlikely too. But, we should state, this is just one reading of the situation, in lieu of any formal statement being provided — something which, if formalised, would likely only prompt the need for actual enforecement, which the majority of players seem to be against.

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

RoboCop: Rogue City – Unfinished Business Review

Good news, ‘80s action fans: Blasting bad guys’ brains out and balls off is still RoboCop’s business, and business is… unfinished. A standalone expansion to 2023’s entertainingly authentic RoboCop: Rogue City, RoboCop: Rogue City – Unfinished Business takes Robo’s relentless rampage off the scum-riddled streets of Old Detroit and up through the heavily guarded heights of OMNI Tower in an all-new, 10-hour killing spree. The bad news is that with precious few new weapons and enemy types, the action of Unfinished Business never really elevates enough to match the skyward trajectory of its setting or distinguish itself as little more than a replay of the original. There’s still plenty of ultra violence to indulge in here, but it’s a form of mindless fun that’s as familiar as it is ferocious.

Not unlike the 2012 sci-fi splatterfest movie Dredd, the action of Unfinished Business is contained almost entirely within the one highrise building and sees RoboCop making his way from the ground floor to its upper reaches in search of some stolen OCP equipment. It borrows a bit of BioShock as well, since Robo is initially led along by an anonymous assistant on the other end of a two-way radio, and that helps to lend a welcome air of mystery to the story’s opening half – even if it doesn’t eventually pay off with any shocking plot twists like Irrational Games’ underwater classic.

As was the case with the previous game, the success of Unfinished Business’ storytelling largely hinges on the often hilarious deadpan delivery of original RoboCop actor Peter Weller in the main role. Whether he’s repeating iconic lines from the movies or making subtle mockery of almost everyone he meets, Weller’s performance is a noticeable cut above the rest. Admittedly, that’s not a super high bar to clear since the supporting cast often sound like they’re voiced by hastily dashed-out placeholder recordings someone forgot to fill in with the real ones, and each seem to draw from the same shallow pool of character heads, making it tough to really distinguish one from the other. In the end, I was happy to go along for the ride all the way to Unfinished Business’ bullet-riddled gore-gasm of a climax, in spite of the fact that I didn’t particularly feel compelled to focus on anyone other than the scumbags standing squarely in front of my ironsights.

Business As Usual

Beyond the story, though, Unfinished Business is a fairly flat 10 hours because while it increases the amount of bad guys you have to shoot, it doesn’t do nearly enough to expand the variety of ways you do it. If you’ve played 2023’s Rogue City, then you’ve already experienced the bulk of what Unfinished Business’ combat has to offer. Once again, you’re able to ricochet bullets off walls to stylishly snipe enemies hidden behind cover, perform breach-and-clears on almost every door you come across in bloodsplattered slow-motion, and shoot explosive barrel after explosive barrel as you RoboStop and RoboDrop absolutely every criminal you come across. It’s all presented with the same fan-pleasing flair, from the green Apple IIe-like graphics of Robo’s heads-up display to the iconic theme music that swells along with the increasing enemy numbers, and that certainly still goes a long way. It’s just a shame to see the skill and Auto 9 upgrade systems copied across seemingly unchanged. You unlock the exact same perks like armour-piercing rounds and the ability to automatically deflect incoming enemy fire, just a little faster this time thanks to the story’s shorter runtime.

If you’ve played 2023’s Rogue City, then you’ve already experienced the bulk of what Unfinished Business’ combat has to offer.

There are a handful of new mechanical enemy types to contend with at least, though none of them really shake things up to a dramatic degree. I did find myself making more consistent use of Robo’s returning slow-mo skill in order to combat the fast-moving robobombs that rapidly roll towards you, as well as the swarms of flying security drones that dart unpredictably through the air above. But while the nimble killbots that cartwheel around the place seem threatening at first blush, they quickly prove to be about as resilient as a jar of baby food as I either shattered their robot skulls with a quick burst of bullets or simply picked them up and disposed of them like katana-wielding Kleenexes, even on the hardest difficulty setting.

OMNI Tower itself does offer the occasional interesting space to host the slaughter in, from the vibrant video arcade and cinema found in the relaxation zone to the trashbag-strewn underbelly of waste management (complete with a Star Wars-style trash compactor to frantically blast your way out of). Those are the exception, though, and most of the carnage takes place in the charmless concrete corridors in between. That’s to be expected from a tour through a corporate dystopia, sure, but it doesn’t make for a lot of fun surprises. Despite the striking gallery of gore and particle effects that shower over each firefight, there were times that Unfinished Business’ drab interiors made it feel less like a thrilling action adventure and more like wandering in circles through a shopping mall carpark trying to work out where I left my 6000 SUX.

Still, the biggest problem I had with Unfinished Business’ gunplay was the same one I found with 2023’s Rogue City. That is, Robo’s signature Auto 9 – blessed as it is with unlimited ammo, easily upgradeable attributes, and an undeniable cool factor – makes the dozens of other firearms found throughout the campaign almost entirely redundant. It’s just so overequipped to deal with everything that’s thrown your way that I never found a good enough reason to holster it. It would be akin to a Star Wars adventure in which you default to the use of a lightsaber – you’re probably not ever going to clip it to your belt and pick up a Tusken Raider’s gaffi stick to crack heads with instead.

There is one exception: the cryo cannon that’s introduced in the second half proved to be worth a few charged-up trigger squeezes, especially since its sub-zero rounds turn your targets into instant ice sculptures that can be subsequently shattered like the T-1000. That’s a time-honored video game tradition that dates back to Duke Nukem 3D. But otherwise I almost never felt the need to bend over and grab any other dropped firearms – and not just because Robo appears to have the knee joints of an 80-year-old man (as well as the voice of a 78-year-old). In fact, the only time I felt forced to employ enemy uzis and shotguns was during an especially violent rescue mission late in the story – and that’s only because the thing I was trying to rescue was, funnily enough, my stolen Auto 9.

Murphy’s Law

Unfinished Business’ structure is effectively built around a cycle of using your Auto 9 to deep-six hordes of mercenaries, pausing to settle disputes between citizens in side missions that veer from moderately humorous to completely banal, and then flicking some switches and turning valves in its basic puzzle sections to open the path ahead before resuming the unrelenting blaze of glorious gore. There are only a handful of detours along the way that at least try to mix up the otherwise predictable pacing, with varying degrees of success.

In one flashback mission we get to pull on the kevlar-lined vest of Alex Murphy in his pre-RoboCop days, as he and his fellow officers are dispatched to investigate the whereabouts of some known perps. I enjoyed this small glimpse of Murphy’s origins in the Metro South precinct even if the stilted banter between his squad was more than a little wide of the mark, and there were some fun Easter eggs to find here including a memo that referenced the ominous rise of a new criminal on the scene that I won’t spoil here.

However, the setting of this sequence lacks imagination given that its abandoned mill surroundings are a bit too similar to the site of Murphy’s infamous ‘crucifixion’ scene witnessed in the first film, and its combat feels somewhat topsy turvy. Where RoboCop must scramble to find OCP charges in order to replenish his rapidly depleting health, regular flesh-and-bone Murphy somehow magically regains it in between shootouts. That’s typical for a lot of first-person shooters, but it’s less of a contrast to playing as a walking tank than I’d been expecting. On the flipside, Murphy can only wield his boring old service pistol, which is frustrating because this was one of the few times I actually wanted to pick up a gun I found but couldn’t. It all makes for a diversion that’s important to the plot, but not particularly compelling to play.

[RoboCop] always seems to be lit with ambient neon lights like he’s emerging out of the driver’s side of a Ford Taurus on the poster for the 1987 film.

Thankfully, the same can’t be said for the late-game level where you get to pilot an ED-209 mech. This fabulously frenetic stretch of fan service allows you to use twin arm cannons to shred through each hapless human like they’re that one poor bastard executive that probably should have hid in the bathroom during the original ED-209 demonstration, blast through concrete walls with rocket barrages, and even trample over a model of Old Detroit’s skyline while battling rival robots like you’re revelling in a small-scale clash of Kaiju. Sure, it’s perhaps not as cathartic as it could have been given that by that point I’d already very efficiently turned hundreds of mercenaries into mincemeat with Robo’s Auto 9. But I can’t pretend I wasn’t grinning like an idiot through the entire sequence, which ratchets up the carnage to ludicrous levels and doesn’t linger long enough to outstay the welcome of playing as a near-invincible killing machine.

I never got tired of seeing RoboCop himself onscreen either. As was the case with the previous game, his polished steel armour looks absolutely spot-on and he always seems to be lit with ambient neon lights like he’s emerging out of the driver’s side of a Ford Taurus on the poster for the 1987 film. That said, outside of the smooth lines of Robo’s movie-accurate character model there’s a noticeable roughness to Unfinished Business, at least on the PlayStation 5 version that I played. During my time with it I suffered frame rate dips, audio dropouts, animation glitches, dodgy lip syncing, ridiculous moon physics during slow-motion breaches, characters disappearing completely during finishing moves and story cutscenes, and even the occasional crash to the home screen. After a while I started to wonder if the “Unfinished Business” title was a nod to RoboCop’s everlasting quest for justice or merely a reference to the launch state of the game itself.