Palia Review

There’s something uniquely satisfying about putting down roots in a sleepy town in games like Animal Crossing, Stardew Valley, or Disney Dreamlight Valley. Palia evolves this tradition to great effect, injecting large-scale multiplayer into that tried-and-true formula. After more than 70 hours of chopping down trees, hunting woodland critters, decorating my home, and hanging out with my fellow Palians, I’ve had a fantastic time catching up on all I’ve missed since the early days of the beta. There are beautiful regions to explore, interesting items and artifacts to craft or collect, and lots of compelling quests to complete – and the new content in the Elderwood expansion that arrived alongside its console launch added quite a bit to what was already a life-consuming vortex of coziness. That said, Palia still feels quite unfinished in some ways, with a story that abruptly cuts off right in the middle and some pretty serious bugs and performance issues plaguing it, but it’s easy to forgive much of that when you and your friends are enjoying a quiet evening of fishing together.

Palia is a cozy life sim with one major tweak: you’re in an online world that occasionally compels you to come out of your shell and interact with other humans – a sometimes Herculean task for the introverts often drawn to this genre. As you explore, you’ll encounter others out in the shared world going about their business, and are encouraged (or sometimes required) to cooperate with them. For example, you’ll get a buff for fishing with others and will find magical trees that can only be chopped down with the help of one or more friends. This has led to a community that’s astoundingly positive and helpful, with the vast majority of the public chat being PSAs from players who have found a valuable resource they’d like to share with strangers, then waiting for minutes on end for everyone to assemble before collecting it as a group. I spend a lot of time playing multiplayer games defined by the community’s potent toxicity and savage greed, so this kind of culture was truly a shock to my system that took me a long time to adjust to.

Although multiplayer is its signature twist, you can still do the vast majority of Palia’s activities by yourself. There’s also just a whole heck of a lot for you to do however you decide to tackle it, all in service of building up your home and improving your relationships with the NPC townsfolk. The usual zen-like staples of cooking and catching bugs are all here and actually quite good – the fishing minigame, for example, is less mindless than you usually find in the genre, having you tug and pull on your rod as the fish leaps into the air and puts up a fight. There’s even a few less common options like hunting, where you’ll pick off poor critters who burrow into the ground and leap into trees as you pepper them with arrows. While an absence of stress is an intentional focus of Palia’s design, it sometimes tries a bit too hard to accomplish that goal, like in how your arrows will magically home in on your target incredibly aggressively, sometimes turning corners to aid your aim. I’m all for a laid back experience, but it can be a bit obnoxious when you’re trying to line up a shot and the magnetism training wheels curve your arrow toward a different creature altogether, frustrating what’s supposed to be a chill activity.

Palia has a surprisingly full-featured main story as well. It has you exploring ancient ruins to uncover the truth about a world which was once populated by humans who are curiously gone now, and the dark history of magic that seemingly caused the collapse of society. This adventure is much more light-hearted than that might sound, though, and you’re mostly just given opportunities to learn about the world and hang out with the characters who accompany you on quests while you platform around and solve simple puzzles. Per Palia’s adherence to cozy virtues, none of this is particularly demanding, and the mainline quests can be completed in a matter of hours if you focus on them, but I enjoyed diving just a tad deeper into the world and the break from grinding for iron ore to craft the next piece of furniture I just couldn’t live without.

The usual staples of cooking and fishing are all here, and quite good.

That said, while I quite enjoy the tale Palia tells, it feels disappointingly incomplete compared to every other aspect of the adventure – even after the Elderwood expansion arrived. The original cliffhanger ending was replaced by yet another hanging chad just an hour or two later, with a handful of chores and a brief new major dungeon spread across a surprisingly short bit of story. You’re telling me I’ve got this massive new map to explore, new creatures to hunt, and new characters to romance, but we still haven’t finished even one arc in the main plot.

Thankfully, there are plenty of distractions and minigames to mix things up, like a hotpot-themed card game I spent way too much time playing, or a surprisingly intricate platforming puzzle that took me hours to master. Sometimes these experiments exceed Palia’s grasp, like the platforming sections in particular, which are held back by clunky controls that don’t seem like they were designed with precision in mind – climbing can be quite an irritating experience as your character will let go of surfaces inconsistently, sending you plummeting to your death. But the stakes in taking these spills are always very low, so there’s not much to lose aside from a bit of your time wasted. Other times, you’ll find yourself doing a sliding picture puzzle and think “y’know, this is pretty nice,” so I mostly found myself happy they took these shots nonetheless.

Of course, the purpose behind all these undertakings is to gain as much gold as you can to upgrade and decorate your home, and Palia’s got one of the better home building systems I’ve seen. Rather than giving you no control over the blueprint of your house like in Animal Crossing or Disney Dreamlight Valley, or making you monkey around with a building mode that has you placing individual walls like The Sims, Palia favors a modular system: You unlock schematics for pieces of a home that you can freely snap onto various parts of your building, making it easy to design the general layout without having to get lost in the weeds. Then, once you’ve built your place, you can decorate it down to the most minute detail, dragging furniture, dolls, and cups around on a grid to make it just so. I could probably spend dozens of hours on this part of Palia alone, were it not for my insatiable need for cold hard cash to fund my homestead expansion. But that desire to make your place exactly as awesome as you want it to be is a serious motivator that sent me out in search of lumber and iron ore time and time again.

Those resource grinds each have their own progression systems as well, as you level up by repeatedly going out into the world and bringing back your haul of raw materials and collectibles to sell. As you plant trees and craft furniture, you’ll unlock new equipment like a loom for creating fabric or a furnace for creating glass. You’ll also get better tools to perform cozy chores with, like a hoe that lets you till land faster or a bow and arrows that will let you take down prey in fewer shots, each of which feels like a handy upgrade that shows up at exactly the right moment you start feeling a need for it. The timegating that sometimes boxes you out of marathoning through everything in other life sims is mercifully absent here for the most part, so you can move as fast or as slow as you care to.

Palia has one of the better home building systems I’ve seen.

The other major pursuit in Palia is in getting to know and develop relationships with its 26 NPC residents, most of whom are really well-written and have a lot more to them than meets the eye. Most have an arc that takes place over several quests where they let you see a bit more of their personality as you forge a friendship. I quite enjoyed hanging out with the sarcastic and moody daughter of the mayor, Kenyatta, who worked the front desk with all the enthusiasm of April from Parks and Recreation – but after helping her down the extremely chaotic path of discovering what she’s passionate about in life, I grew to appreciate her in a less superficial way. Even characters I really didn’t jive with like Elouisa, a cryptid-obsessed hippy who annoyed me to no end, was at least entertainingly irritating, and I’ve learned to appreciate how much her personality bothers me over time. (We’ve all got a friend like that, don’t we?) And, of course, if you’re looking for more than friendship you can partake in Palia’s quite strong dating mechanics to get yourself a girlfriend or boyfriend, or several of them – no judging here.

Unfortunately, this is one area where timegating gets in the way of a good time, and is one of the only places Palia boxes you out. You’re only allowed to chat with each character once per in-game day (a 30-minute period of real time), which improves your social links a very small amount, and you can only give each character a gift once per real world day. So if you’re trying to finish a particular character’s story, you’ll have to log on with regularity and be subjected to the same rotation of brief banter before you’re able to make any real progress. This is especially painful early on when your citizenship in Kilima Village is dependent on having someone in town to vouch for you – a task that’s made impossible to do in a short span by timegating. When every other area of Palia lets you play to your heart’s content, it’s pretty annoying to see such an essential part of this slice of life block you from progressing at your own pace.

Palia has come a long way since I first played it over a year ago, but one thing that remained true after this latest update is that it’s still missing quite a bit. Even with the beefy new Elderwood map joining the original two, the number of areas to explore is fairly small, and though they’ve got nooks and crannies for you to discover, you can more-or-less see most of what’s available in a few hours. Social features, though awesome when they happen, still feel quite slim for a game where the killer feature is supposed to be its online functionality, and there aren’t enough activities that encourage group play. And although there are quite a few options for decorating your house, surprisingly little of it can be interacted with once placed. You can’t lie in bed, turn on the sink, or really do much of anything with most objects, which sometimes made me feel like I was building a museum rather than a home. (They did add the ability to flick the light switches on and off, which is at least something.) Elderwood isn’t planned to be the final update or anything, so these are shortcomings that will hopefully be built out in the future, but I’m a bit surprised that some of them aren’t farther along all the same.

The other major issue with Palia has been its bugs and performance issues, which have gotten remarkably better but are still pretty common. I quite frequently see NPCs sink into the floor, sometimes altogether hidden underground to the point where I can’t interact with them, there’s a bunch of very visible pop-in that happens while you’re running around, and loading times when traveling between each section of the map feel far longer than they should. Playing on the Nintendo Switch is especially eyebrow raising, as everything looks pretty awful and runs significantly worse, to the point where I really can’t recommend it on that platform in the same way I enthusiastically would elsewhere.

Cyberpunk 2077 Sequel Project Orion Has Night City and Another City That Feels Like ‘Chicago Gone Wrong,’ Mike Pondsmith Teases

CD Projekt’s Cyberpunk 2077 sequel, codenamed Project Orion, is a closely guarded secret, but that hasn’t stopped Cyberpunk creator Mike Pondsmith from teasing some previously unknown details.

Pondsmith, who worked closely with CD Projekt on the 30 million-selling Cyberpunk 2077 and was involved in promoting the game ahead of its 2020 launch, was asked about the scope of his involvement with Project Orion at the Digital Dragons 2025 conference.

Responding, Pondsmith admitted he wasn’t as involved this time around, but he does review scripts and had been to CD Projekt to check out the ongoing work.

“Last week I was wandering around talking to different departments, and seeing what they had, ‘Oh look, this is the new cyberware, what do you think?’ ‘Oh yeah, that’s pretty good, that works here.’ “

And then, the morsel of detail on the sequel: that it features a brand new city in addition to the Night City we know from Cyberpunk 2077. Pondsmith described this new city as “like Chicago gone wrong.”

“I spent a lot of time talking to one of the environment guys, and he was explaining how the new place in Orion, because there’s another city we visit — I’m not telling you any more than that but there’s another city we visit. And Night City is still there. But I remember looking at it and going, yeah I understand the feel you’re going for this, and this really does work. And it doesn’t feel like Blade Runner, it feels more like Chicago gone wrong. I said, ‘Yeah, I can see this working.”

It’s worth pointing out here that Pondsmith’s comments do not necessarily suggest the Cyberpunk sequel will feature a future Chicago, rather a city that has the feel of a dystopian version of the city. It may well be a take on future Chicago, but that isn’t confirmed based on these comments.

There is also already some debate about whether the Cyberpunk sequel will expand upon the Night City that’s in Cyberpunk 2077 or feature a new version, and the extent to which it is playable. There are a lot of unknowns, but it looks like there may be two fleshed out playable cities in this sequel.

While CD Projekt’s focus right now is The Witcher 4, it has a new studio set up in Boston to work on Project Orion. Earlier this year, CD Projekt said 84 of its 707 staff were working on Project Orion, which is still in the concept phase. Much can change, and we’re not expecting the game for some time.

There’s also a new Cyberpunk animation project on Netflix following the well-received Cyberpunk: Edgerunners. In the shorter term, Cyberpunk 2077 is set to launch on Nintendo Switch 2.

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.

Stellar Blade Developer Confirms Sequel Plans

Stellar Blade is getting a fully-fledged sequel, developer Shift Up has confirmed.

The PlayStation-published action game launched to a positive response back in April 2024, with players saying its gameplay mixed elements of NieR: Automata and Sekiro: Shadows Die Twice.

Now, Korean company Shift Up has confirmed a Stellar Blade sequel is on the way, via a chart showing the company’s future plans published as part of its latest financial results released today.

As confirmed within a presentation slide detailing how Shift Up expects to expand its franchises going forward, a Stellar Blade sequel is listed as coming next among others that look set to be released before 2027.

Before the sequel arrives, there’s mention of a “platform expansion” for Stellar Blade — this likely just refers to the game’s upcoming PC version, which is set to arrive on June 11, 2025.

This development period — before 2027 — will also include the launch of Shift Up’s mysterious Project Witches, a new multiplatform action RPG that’s still yet to be fully revealed.

Earlier this week, Shift Up said it was “closely discussing” a mysterious PC region lock issue with Sony that had blocked the game’s store page on Steam in more than 100 countries.

“Stellar Blade stands out as a gorgeous and well-crafted action game with very impressive strengths and very clear weaknesses,” IGN wrote in our Stellar Blade review.

“Both its story and characters lack substance, and some of its RPG elements are poorly implemented, like dull sidequests that very often require you to retrace your steps through previous levels with very little done to make the return trip feel unique or rewarding.

“But its action picks up most of that slack thanks to the rock solid fundamentals of its Sekiro-inspired combat system, a deep well of hideous monstrosities to sharpen your sword against, and plenty of hidden goodies that do a great job of incentivizing exploration throughout.”

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

Netflix Will Produce Animated Series Set in the World of Clash of Clans and Clash Royale

Netflix and Supercell have announced that they will bring the Clash video game franchise to the small screen with an animated series set in the world of Clash of Clans and Clash Royale.

The series, which is already in pre-production, will “build upon the mayhem of the games,” according to a press release from Netflix. The streamer also revealed the series’ plot, which will follow “a determined, but in over his head, Barbarian who must rally a band of misfits to defend their village and navigate the comically absurd politics of war.”

The official Clash of Clans social media accounts also got in on the announcement fun. “Sound the horns, raise the banners, and reinforce your village walls — Clash is invading @Netflix!” they shared alongside a cute teaser video featuring the company’s devs playfully announcing the game via a group FaceTime call. “We’re making a new animated series starring your favorite mustachioed Barbarian and his high-pitched, hog-riding friends. Charge!”

The Netflix crew also seems very excited to be finally bringing this game to life in a whole new way. “Clash has been a global gaming phenomenon for over a decade – filled with humor, action, and unforgettable characters perfect for an animated series adaptation,” John Derderian, VP of Animation, said.

“Working with the incredible team at Supercell, Fletcher Moules and Ron Weiner, we’re bringing all the fun, chaos and spirit of the world of Clash to life in a whole new way. We can’t wait for fans – old and new – to experience the mayhem.”

Netflix’s Clash animated series is still in pre-production, so we don’t have a release date quite yet. The streamer has invested heavily in turning video games into shows and movies. Arcane, based on League of Legends, and Cyberpunk: Edgerunners, based on Cyberpunk 2077, are the standouts, but there are Resident Evil adaptations, Tekken: Bloodline, Tomb Raider: The Legend of Lara Croft, Dragon’s Dogma, Dragon Age: Absolution, Castlevania, and a lot more besides.

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

As Gamers Express Concern About Borderlands 4 Potentially Costing $80, Gearbox Chief Randy Pitchford Says: ‘If You’re a Real Fan, You’ll Find a Way to Make It Happen’

Outspoken Gearbox chief Randy Pitchford has responded to a fan who expressed concern about the prospect of paying $80 for Borderlands 4, saying: “if you’re a real fan, you’ll find a way to make it happen.”

The video game industry has made the jump to $80, first with Nintendo and Mario Kart World, then with Microsoft and its price hike announcement that will kick in this holiday season. Could Borderlands 4 follow suit?

Publisher 2K Games and parent company Take-Two have so-far remained vague on whether they will go to $80, and Randy Pitchford has insisted the decision is out of his control. But, responding to one concerned fan on social media, Pitchford set the cat among the pigeons by saying that if you’re a “real fan, you’ll find a way to make it happen.”

Here’s the exchange:

“Randy, this game better not be 80 dollars. Don’t take that risk, a lot of gamers aren’t gonna pay 80 dollars and feed this notion of constant increase of the price tag. You are the CEO, you have some say with the price when it comes to your publisher.”

And here’s Randy Pitchford’s response:

“A) Not my call. B) If you’re a real fan, you’ll find a way to make it happen. My local game store had Starflight for Sega Genesis for $80 in 1991 when I was just out of high school working minimum wage at an ice cream parlor in Pismo Beach and I found a way to make it happen.”

As you’d expect, Pitchford’s comment has sparked a vociferous response.

“Lmao CEO said ‘real fan’ WHOOO WEEEE in this economy,” said one social media user. “Wow that’s probably a bad take… cost of living crisis and you’re just gonna say ‘if you’re a real fan…’ damn,” said another. “What an elitist out of touch response,” another said. “His solution just buy it you know you will. Is this how you treat loyal consumers?” “You should have just left that response at ‘not my call’ and kept the gaslighting out of your response,” another added.

Last week, during a PAX East panel, Pitchford insisted that he didn’t know the Borderlands 4 price but refused to rule out $80.

“I’ll tell you the truth. I don’t know. That is the truth. I’ll hit it straight on. It’s an interesting time,” he said.

“On one level, we’ve got a competitive marketplace where the people that make those choices want to sell as many units as possible and they want to be careful about people that are price-sensitive. There are some folks who don’t want to see prices go up, even the ones deciding what the prices are.

“There’s other folks accepting the reality that game budgets are increasing, and there’s tariffs for the retail packaging. It’s getting gnarly out there, you guys. Borderlands 4 has more than twice the development budget for Borderlands 3. More than twice. So the truth is, I don’t know what the price is going to be.”

In a recent interview, IGN asked Take-Two boss Strauss Zelnick if the company would go to $80 for its games. Zelnick wouldn’t say either way, but did say consumers would be “willing to pay for the very best.”

“I have said for a long time that we offer enormous value and that that’s our job,” Zelnick said. “Of course, we certainly believe that compared to other forms of entertainment, whether that’s movie tickets or live events or streaming services, the value for our entertainment that we offer is just astonishing, and it’s our job. It’s our job to deliver much more value than what we charge. That’s our goal. We think consumers are willing to pay for the very best. It’s our job to make the very best.”

Earlier this month, 2K announced a cheaper than expected $50 price point for Mafia: The Old Country, confirming that it is not an open-world game, rather a linear, narrative-driven game. The announcement was positively received, with many fans saying they’re more interested in a high quality, cheaper, shorter story-driven Mafia game than a bloated open-world game filled with repetitive mechanics.

Indeed, there seems to be a growing call for more of these cheaper, manageable games, with Sandfall’s well-received Clair Obscur: Expedition 33, which has sold an impressive 2 million copies despite being available day-one on Game Pass, held up as a potential trend-setter.

Given Borderlands 4 is due out September 12, 2025, 2K Games will have to announce the price sooner rather than later.

Photo by Jon Kopaloff/Getty Images for Lionsgate.

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.

Ahead of Warhammer 40,000: Space Marine 2 Patch 8, Fans Believe Datamines Have Revealed Everything From the New Class to a New, Much-Wanted Melee Weapon and a Surprising New Gun

Warhammer 40,000: Space Marine 2 will soon see the release of Patch 8, which publisher Focus Entertainment and developer Saber Interactive have already said heralds the arrival of the hotly anticipated Horde mode.

But what else might it include? Recent datamines of Space Marine 2 itself may hold clues.

Warning! Potential spoilers for Warhammer 40,000: Space Marine 2 follow:

Let’s start with perhaps the biggest question Space Marine 2 fans have right now: what is the new class? Datamines suggest it is the Techmarine. Why? Because in the files was mention of a perk called ‘shoulder gun bolter,’ which is a clear indication that Techmarines are finally in play.

For the uninitiated, a Techmarine is a Space Marine engineer-type class who’s a big fan of the Cult Mechanicus as well as their Chapter. They’re big on technology and specialize in fixing and maintaining vehicles and other big stuff, such as Dreadnaughts.

You can see how a Techmarine might slot into a Space Marine 2 squad, which currently lacks a class of this type. And this ties into another datamined detail: the apparent ability to “summon” a Dreadnaught in Horde mode. Dreadnaughts are a part of the Space Marine 2 campaign (one viral moment involves a Dreadnaught being particularly heroic and badass), and you also fight alongside one in a PvE Operations mission. Could you earn the right to summon a Dreadnaught and, as a Techmarine, keep it alive, in Horde mode?

Now onto the promised new melee weapon. Datamines suggest Space Marine 2 will finally get a Power Axe, which again, makes sense in the context of Games Workshop’s big Space Wolves push for the tabletop game. And let’s remember, in December, IGN reported on Space Marine 2 modders who put the axe from Secret Level’s Warhammer 40,000 episode into the game.

There’s more! As discussed in a recent video by Warhammer 40,000 YouTuber Chapter Master Valrak, dataminers recently unearthed evidence of a Grav-cannon in Space Marine 2. This is, typically, a big gun used by Space Marines that manipulate gravity to cause a target to crush itself to death. Could the Techmarine class, should it be a genuine upcoming arrival, exclusively wield the Grav-cannon? If so, I imagine there will be many players who gravitate towards it with the release of Patch 8.

It’s worth noting that Patch 8 remains under wraps for now, but we’re expecting Space Marine 2-related announcements during the upcoming Warhammer Skulls livestream this Thursday, May 22. Perhaps we’ll find out more there.

There’s a lot happening in the world of Space Marine 2, despite the surprise announcement that development of Space Marine 3 development had begun. Space Marine 2’s year one roadmap remains in place.

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.

Amid Game Closures and a Declining Audience, Call of Duty Is in a Rough Spot — So What’s Next?

Call of Duty fans are still digesting the news that Activision is walking away from Warzone Mobile, the game that was meant to lead the battle royale into a new era.

Over the weekend, Activision pulled Warzone Mobile from iOS and Android app stores, with the scope of the game being “streamlined” and an admission it had not met expectations. While servers will remain online for now, no new content or updates will be issued to the game, and players can no longer spend real money in it.

“We’re proud of the accomplishment in bringing Call of Duty: Warzone to mobile in an authentic way, [but] it unfortunately has not met our expectations with mobile-first players like it has with PC and console audiences,” Activision said.

It’s a brutal end for a game that clearly struggled right out of the gate. Warzone Mobile launched in March 2024 on iOS and Android as a Warzone-specific Call of Duty mobile experience that offered battle royale for up to 120 players, as well as cross-progression with the PC and console Warzone, Modern Warfare 2 and 3, and, later in the year, Black Ops 6.

IGN’s Call of Duty Warzone Mobile review returned an 8/10. We said: “Call of Duty: Warzone Mobile includes all the best elements of Warzone, while speeding up and streamlining matches and using cross-progression to make this a meaningful extension of the traditional experience.”

Activision’s hope was that Warzone Mobile would make a splash in the competitive mobile shooter market, where the hugely successful Call of Duty Mobile, developed by Tencent-owned TiMi Studio Group, is already established. With Call of Duty Mobile, which has seen 1 billion downloads since launch, revenue is shared between Activision and Tencent. Warzone Mobile, on the other hand, was developed entirely in-house at Activision, and so the company received a bigger slice of the money pie every time a player dropped cash on a battle pass or a cosmetic.

But Warzone Mobile, which requires more powerful mobile phones than Call of Duty Mobile to work well, failed to meet Activision’s expectations, and its development team was scaled down when, in September last year, Microsoft-wide layoffs hit across the games business.

Now, Call of Duty fans, especially those who did play Warzone Mobile, have lamented the state of the game and indeed the franchise.

“This game simply came out too early and wanted to be too greedy,” said redditor Maddafragg. “It could be seen on the Reddit videos, a lot of gameplay was not fluid with weird graphics, it could be seen that even if the game is playable, the device struggles to run it. The world of mobile gaming is cursed, it’s not just Warzone that’s dying. Dead by Daylight mobile and Star Wars hunter will also close the doors.”

“Turns out mobile games need to be optimized on most devices to be successful, you can’t just cater to high end devices and hope your game succeed — it won’t,” added piegeamorue.

“Greed is a dangerous thing. Activision was too greedy and when it leaked that they planned on killing CODM in favor of WZM they essentially turned tens of millions of people against the game. It became ‘us vs them’ and CODM is vastly more accessible than WZM — the loss was guaranteed.”

What’s next for Call of Duty, which appears to be in a tricky spot right now? Earlier this month, The Game Business reported that while Black Ops 6 launched big late last year, the Call of Duty franchise saw its users decline afterwards, and “more sharply” than in recent years.

Here’s the relevant blurb:

… the reality is that despite a strong start, Call of Duty has struggled to engage players to the degree it has in the past. According to Ampere, in March 2025, Call of Duty had 20.6 million players. That is still a huge number, but it’s slightly less than March 2024, which had 20.8 million players, and well down on March 2023, which saw 22.4 million players.

The return of the much-loved Verdansk to Warzone did give the battle royale a much-needed shot in the arm, but with the honeymoon period over and accusations of rampant cheating once again dominating the narrative, all eyes are on Activision and this year’s Call of Duty game to see if the still-huge first-person shooter franchise can reinvent itself once again.

Related, there are a number of apparent datamined gameplay videos doing the rounds that show wall-running and even jet packs working in Black Ops 6. This, some believe, indicates this year’s Black Ops 7 will ditch Activision’s ‘boots on the ground’ mantra for gameplay reminiscent of Black Ops 3.

Activision told IGN its teams are busy and moving forward on a variety of work, so hopefully we’ll see the fruits of that soon. Microsoft’s annual June Xbox showcase is around the corner. Perhaps Call of Duty will turn up there. And, meanwhile, Call of Duty: Mobile is going strong, but, as we’ve pointed out, it’s not as lucrative a business for Activision, despite being bigger.

Activision Blizzard’s recent mobile struggles also call into question Microsoft’s $69 billion acquisition of the company itself, given Xbox boss Phil Spencer has made no secret that the decision was in part motivated by Xbox’s lofty mobile ambitions (Activision Blizzard owns King, the maker of phenomenally popular mobile game Candy Crush). Indeed, Microsoft plans to launch an app store of its own, taking on Apple and Google in the lucrative mobile game space.

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.

Helldivers 2 Heart of Democracy Update Finally Brings the Illuminate Invasion to the Streets of Super Earth

Helldivers 2 finally has Super Earth maps to fight on as part of the Heart of Democracy major update.

As had leaked last week, the Heart of Democracy update — out now across PC and PlayStation 5 — sees the Illuminate invasion reach Super Earth. You can now select missions on our home planet in Mega Cities and fight back alongside SEAF soldiers.

The city biomes include operations that work towards liberating the cities, which, developer Arrowhead said, have “a significant impact on planetary campaigns.” This is a part of Helldivers 2’s ongoing Galactic War, a community-driven meta narrative that Arrowhead orchestrates behind the scenes.

Here’s the official blurb, per the PlayStation Blog:

The Helldivers are tasked with a new objective: to repel the Illuminate invasion by gaining ground over the squids as they fight to control areas where the fleet is landing. It won’t be a walk in the park, divers. Like a game of intergalactic tug-of-war, you will struggle against the incoming forces, gaining and losing control quickly.

You can activate Planetary Defense Cannons and take down the Illuminate fleet, as shown in the trailer. And, as mentioned, SEAF troops will help join the fight to defend the cities. These small squads will fight enemies on their own, or they can be ordered to follow Helldivers and provide temporary backup as you navigate toward objectives. You do, however, need to be mindful of civilians who are still roaming the streets; Helldivers 2 is as much about friendly fire management as it is blowing aliens up.

The Heart of Democracy update is part of Arrowhead’s long-term committment to keeping Helldivers 2 going for years to come following its record-breaking launch last year.

Last week, Arrowhead CEO Shams Jorjani addressed player concern that the studio might leave the game behind to focus on its next project, dubbed “Game 6.”

“Nah. It’s ALL Helldivers 2 for now,” he insisted. “A very, very small team will spin up something later this year and go at it sloowly. Helldivers is our main focus and will be for a loooong time.”

So, how long does Jorjani expect content updates for Helldivers 2 to last?

“As long as you folks keep playing and buying Super Credits we can keep it going,” Jorjani said, pointing to Helldivers 2’s virtual currency that’s used to buy Premium Warbonds. “Last summer we were kinda screwing the pooch so it looked like we wouldn’t be able to keep the train going for a long time – but we turned the ship around, you support us a lot so it’s looking bright.”

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.

Half-Life Writer Marc Laidlaw Never Expected His 40-Year-Old Cyberpunk Story Would Be Turned Into a Love, Death and Robots Episode for Netflix

Marc Laidlaw wrote 400 Boys in 1981 aged 21, long before he ended up Valve’s lead writer and one of the chief creators of the Half-Life games. The short story was published in Omni magazine in 1983, before it was picked up for Mirrorshades: The Cyberpunk Anthology and enjoyed a wider audience. On Marc’s website, at the bottom of the short story itself, he points out 400 Boys has probably been read by more people than anything else he’s written, except perhaps Dota 2 seasonal ad copy. Yes, the video game world knows Marc Laidlaw as the lead writer of the Half-Life series. But he’s done a lot more than video games. It’s funny how things work out.

In a post-apocalyptic city where warring gangs follow a bushido-like code of honor, a new gang, the 400 Boys, forces them to unite. A blend of beauty and brutality from Canadian director Robert Valley, whose LDR episode “Ice” won the Emmy for Outstanding Short Form Animation.

“The inspiration for it just came out of walking around,” Marc remembers. “I lived in Eugene, Oregon and there was always the phone poles with the names of bands that were playing in town, and it was just name after name of super cool bands, and I just wanted a way to do that. I just wanted to make up lots of band names. So I came up with the idea of, if I have all these gangs in the story, I can come up with names for all these different gangs and that would be fun. And it was funny. That was kind of the thing that drove a big part of the story, just wanting to make band names.”

Now, over 40 years after 400 Boys was first published, it’s an episode of the fourth season of Netflix’s hugely popular animated anthology series Love, Death and Robots. The episode was directed by Robert Valley, the director of Zima Blue in Season 1 and Ice in Season 2. Tim Miller wrote it. The voice cast includes John Boyega, who famously played Finn in Star Wars. All of a sudden, 400 Boys is having its big moment. Marc Laidlaw never expected this.

“The story kind of faded out, but cyberpunk kept going and I didn’t really think about it that much,” Laidlaw tells me over a video call just days before Season 4 of Love, Death and Robots kicks off on Netflix.

40 years. That’s a long time for anything to be turned into something, isn’t it? But it might have happened earlier, around 15 years ago, when Tim Miller from Blur (the company that does all those fancy video game cutscenes and, these days, so much more), got in touch about maybe turning 400 Boys into something. It didn’t happen. Like so many projects, it fell apart following studio changes.

Then Love, Death and Robots exploded onto the scene in March 2019. This edgy, adult-oriented animated anthology was unlike anything we’d seen on the streamer. Some episodes were challenging, some were weird, some were weirdly challenging. Whatever they were, you couldn’t help but watch. And, Marc noticed, Tim Miller from Blur was involved. “I always say, I can’t imagine anybody else who would’ve turned The Drowned Giant, this J. G. Ballard story, into an episode of an animated feature,” Marc says. “So I had a lot of respect for Tim just from that.”

Marc moved to Los Angeles in 2020 and, as the pandemic eased, met Tim a few times at various events around town. He didn’t want to push 400 Boys, but maybe, just maybe, if this Love, Death and Robots thing kept on going, maybe it would come back around. Then, a year ago, Marc got the ‘would you be interested in us optioning 400 Boys?’ email. It was finally happening.

Marc spoke with Tim, who took over the script, about the story itself. He says the episode is faithful to the source, but there’s some new stuff that helps sell the story visually. He had a couple conversations with Robert Valley, the director. He pointed him to the 400 Boys audiobook, which Marc narrated (“I did a reading of this back in the pandemic when everybody was trying to entertain people by posting audio books of their fiction and stuff on YouTube”).

But really, Marc wasn’t that involved. “It just was fun to sit back and not have to be involved in the trenches on something for once,” he says. “And I just kind of wanted to enjoy it when it was done and see what they made of it.”

And Marc has seen the episode, as you’d expect. “John Boyega and the characters and the accents and the setting is just so cool to me. I mean, they made the story just so much more fun visually, I think.”

400 Boys is, as Marc describes it, from “a different me from lifetimes ago.” Of course it is, he wrote it over 40 years ago when he was a young man. “I’m still pretty happy with it considering how young I was when I wrote it.”

“And then there was a long time of not much happening,” he says. And then, as we all know, Marc got into the games industry in 1997, into Valve as it was making Half-Life. “And that whole thing happened…”

Laidlaw “retired” from Valve in 2016, but it came across as a hard retirement from everything. In truth, he’s in a comfortable enough position to be able to do what he wants, pick his own projects and share them when they’re done. “I think I retired too hard,” he admits. He never wanted to stop being creative. He wanted to get back to writing, but the publishing industry sort of disappeared while he was working on video games. Forget new video games, too. “I can’t do games without a bunch of people. I can’t make a game myself.”

So Marc makes music now. He got a boost in audience after Valve’s Half-Life 2 anniversary documentary came out last year and he released a lost development video from the early days on his YouTube channel. “I’m like, I’m in the wrong business!” Marc jokes. “I should just be leaking information about my old employer.”

Did it feel weird looking back at Half-Life all these years later for the Valve documentary, I wonder?

“Yeah, it was good for me to just kind of process and put a bow on that stuff, see a bunch of old friends, think about that, the whole thing,” Marc says.

“I hadn’t talked to or seen a lot of those people for a long time. I still stay in touch with a few folks, but they’re also not really there anymore. I don’t know what’s going on there right now, but it was fun to hang out with people and talk it over and it was therapeutic.”

With Half-Life and Half-Life 2 anniversary documentaries done and dusted, the only Valve game Marc might be asked to reminisce over now is Dota 2, which, ominously, is 12 years old. Perhaps in eight years Valve will come calling. “I could speak to Dota. That’s the only thing left.” Unless, of course, Valve fancies doing something on Alien Swarm (“I did a little bit on Alien Swarm”).

It is impossible, I find, to talk to Marc Laidlaw without talking about Half-Life. With those Valve documentaries out in the wild, there isn’t much left to say about the past. But maybe (hopefully?!) Half-Life has a future, and it’s that thread I want to pull on.

There is no point asking Marc if he knows whether Half-Life 3 is in the works. As he says, he doesn’t really know the people still left at Valve, but even if he did, he’s not about to announce the game here in our interview. Can you imagine the email Gaben would send if he did?

It is a better use of our time, I think, to ask Marc if he’d ever write for a video game again. Marc says he is, generally, still open to writing for a video game, and suggests Hideo Kojima should perhaps have given him a call. “When Death Stranding came out, I just was grinding my teeth. Like, does he know I’m available? I’d be happy to help do the last polish of dialogue on your script and not wreck anything, but just make it lines that actors would sound better coming out of their mouth.”

Marc, as he alluded to earlier, “retired really hard,” and he thinks that because of that, the industry doesn’t think to ask him to do anything. “When I see the Miyazaki stuff, the From studio stuff, of course you go to George R. R. Martin first if you could. Nobody needs my name on their project to sell copies. But I mean, that kind of thing to me is exciting.”

The lack of interesting offers post-Valve came as something of a surprise, Marc says. “I did kind of expect more interesting offers of stuff to do afterward and was kind of like, ‘this is weird: somebody wants me to write their synopsis for their mobile phone laser tag game.’ It’s like, they don’t know what I do.”

Wait, really? Someone actually asked Marc Laidlaw to write a mobile phone laser tag game after he left Valve? “Those are the kind of things I would get,” Marc admits. “I’m like, ‘I don’t know that I have much to offer you guys, but I mean, I don’t really like to say no to stuff.”

Marc continues: “I haven’t really heard any interesting game offers that seemed right for me. People think of me as, you can come in and write a bunch of stuff for a game. I’m like, ‘do you notice how little writing there was in Half-Life?’ Sort of the point of it was I hated reading in games.”

And then the inevitable interview-closer: if Valve gave Marc Laidlaw a call and said, ‘we want to get the band back together for Half-Life 3,’ would he answer that call?

“I would not do that,” he replies, matter of factly. “I can definitely say I would not do that. Even when I was there, I started to feel like, ‘Oh, now I’m the old guy shooting stuff down.’ I think at some point you need to let the people who are the fans and the creators who’ve come in because of what they learned from you maybe, and let them have that. We need new stuff. We didn’t need me going, ‘Well, the G-Man wouldn’t do that in my day.’ And I found I had to restrain myself. People would get enthusiastic about stuff, and I felt like it was becoming a negative force on some of the creative process.

“I haven’t played the VR Half-Life: Alyx, so I don’t really feel like I can. I don’t know what’s going on with anything. And it is not really my place. God knows what it’s doing in terms of creative process of how to get a great experience that will surprise people. And you have to be right at the edge of what you can do in a moment. And I’m not on that edge anymore. That’s not what’s interesting to me at this point. So I don’t think I’d be good.

“Plus, I’m one of the older guys, maybe not the oldest, but it’s so much work. I mean, I don’t think I could do that anymore. I get into my own things, but it’s not on anyone else’s schedule. And yeah, I’m pretty much done. I mean, maybe not done with games altogether, but definitely the Half-Life part of my life is way behind me.”

So, that’s that. Half-Life is done with Marc Laidlaw, and Marc Laidlaw is done with Half-Life. But there’s a lot more he’s done in the past that’s relevant now. Just look at Netflix making 400 Boys, 40 years later. Maybe, at some point in the future, Netflix will knock on Valve’s door and ask to turn Half-Life into something. Then Marc Laidlaw can go through all this all over again.

“The fact that I got into the cyberpunk thing before it was called cyberpunk, and then I came across this sort of beginning game company that ended up making Half-Life… I’ve been lucky to be a part of these things that just kind of become phenomena.”

Wesley is the UK News Editor for IGN. Find him on Twitter at @wyp100. You can reach Wesley at wesley_yinpoole@ign.com or confidentially at wyp100@proton.me.

The Last of Us Developer Naughty Dog Working on a Second, Unannounced Game Other Than Intergalactic: The Heretic Prophet, Neil Druckmann Confirms

Naughty Dog chief Neil Druckmann has revealed the studio has a secret, unannounced second game in the works other than Intergalactic: The Heretic Prophet.

In an interview with the Press X to Continue podcast, Druckmann discussed his ongoing roles at Sony-owned Naughty Dog. On Intergalactic: The Heretic Prophet, Druckmann works with two game directors: Matthew Gallant and Kurt Margenau, and is co-writing the game with narrative director Claire Carré. Druckmann did not say which director is working on the second game, however.

“There’s another game that’s being worked on at Naughty Dog where I am more of a producer role and I get to mentor and watch this other team and give feedback and be like the executive in the room,” he said.

“I enjoy all those roles, and the fact I jump between one to the next, it makes my job very exciting and always feeling fresh. I’m never bored.”

It is unclear at which stage each game is in production. Intergalactic: The Heretic Prophet is announced, so you’d imagine it’s further along. But what is the second game?

There are some obvious candidates. Could it be The Last of Us 3? Druckmann has expressed his uncertainty in the past about being able to make the game, but has said he has an ending in mind for what the game would be. Based on Druckmann’s comments about having more of a producer role on this mystery second game, it doesn’t sound like it’s The Last of Us 3, as you’d imagine he’d want to be heavily involved and take on a director role for that game.

Alternatively, it could be another Uncharted game. There hasn’t been a brand new Uncharted game since 2017’s The Lost Legacy. Could it finally be time for a return? And there’s always a chance this second game could be a brand new intellectual property, as Intergalactic: The Heretic Prophet is.

It’s worth noting that there’s always a chance this second game never comes out, or is never properly revealed by Sony. Naughty Dog has endured a tumultuous time in recent years, with the cancelation of its The Last of Us multiplayer game to focus on single-player games coming amid an apparent pull-back of live service titles at Sony.

Naughty Dog stopped development on The Last of Us Online in December 2023, saying it would have needed to put all its resources into post-launch content for years to come — an approach that would have severely impacted its ability to develop future single-player games.

Historically, Naughty Dog has struggled to work on two big games at the same time, with one tending to end up top of the tree internally. The studio hasn’t released a brand new game since 2020’s The Last of Us 2, with remakes and collections in the interim.

As for Intergalactic: The Heretic Prophet, it features a star-studded cast that includes Tati Gabrielle from the Uncharted movie as protagonist Jordan A. Mun, and Kumail Nanjiani of Marvel’s Eternals as a man called Colin Graves. It is not expected to release until 2027 at the earliest. It’s a pretty long wait, but speaking to IGN on the red carpet ahead of The Last of Us Season 2 premiere, Druckmann said that Intergalactic: The Heretic Prophet is not only playable right now, but “really good.”

“I will say we are playing it at the office and it’s incredible,” Druckmann teased. “It’s really good. I’m so excited to finally put gameplay out into the world and show people about it, because we just showed you the very, very, very tip on the iceberg. The game goes pretty deep beyond that.”

Photo by Rich Polk/Deadline via Getty Images.

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.