Final Fantasy I-VI Collection Anniversary Edition has hit its lowest price yet, now available for $49.99 at Amazon—its best deal to date, even beating Black Friday, according to our records, and even price-tracking site CamelCamelCamel.
Originally released on October 8 for Nintendo Switch and PlayStation 4 (fully compatible with PS5), this collection brings together the first six mainline Final Fantasy games in their carefully remastered form. Square Enix has opted for refinement rather than reinvention, keeping the original pixelated aesthetic intact but sharpening it for modern displays.
The result is a collection that looks fantastic, whether on a massive TV or in handheld mode. The soundtrack has also received an orchestral upgrade, with legendary composer Nobuo Uematsu overseeing the new arrangements. On top of that, the package introduces a handful of thoughtful quality-of-life improvements, including the ability to disable random encounters and boost experience and gil gains—useful for those who want to focus on the story without the grind.
As a small but nostalgic extra, this edition includes a sticker sheet featuring 12 classic character sprites, including the Black Mage, a Moogle, Terra, Kain, and a mid-cackle Kefka. It’s not the most extravagant of bonuses, but it’s a fun little touch for fans of the series.
At its original $74.99 price, the collection was a tougher sell, but at $49.99, it’s a much easier recommendation for anyone interested in the series’ origins. Whether you’re revisiting these classics or playing them for the first time, this is a well-executed remaster of six of the most influential RPGs ever made. And with physical copies being the only collectible edition available, it might be worth picking up before they become harder to find, especially at this time.
Robert Anderson is a deals expert and Commerce Editor for IGN. You can follow him @robertliam21 on Twitter.
EA’s Star Wars turn-based tactics game will be revealed at Star Wars Celebration 2025.
The untitled Star Wars strategy game was announced in early 2022 as in development at Bit Reactor, a studio composed of Firaxis Games veterans best-known for their work on the XCOM franchise. Bit Reactor has worked closely with Star Wars Jedi developer Respawn Entertainment on the new project, and is finally ready to show the game off.
The first look is set for April 19 via a live panel with the lead development team from Bit Reactor, along with Respawn Entertainment, and Lucasfilm Games, as revealed on the official Star Wars Celebration 2025 schedule.
We know next to nothing about this game, neither in which Star Wars era it’s set, nor the exact nature of its gameplay. But given it’s being made by former developers of XCOM, it seems reasonable to assume something along similar lines drenched in all things Star Wars.
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.
Horizon actor Ashly Burch has addressed the AI Aloy video that leaked online last week, using it to call attention to the demands of striking voice actors.
In the now deleted video, Sony Interactive Entertainment director of software engineering, Sharwin Raghoebardajal, has a conversation with an AI-powered Aloy via voice prompts and AI-generated speech and facial animations. Raghoebardajal asks Aloy how she’s doing, to which she responds: “Hello, I’m managing alright. Just dealing with a sore throat. How have you been?”
The voice heard coming from Aloy’s mouth is clearly not that of Burch, rather a robotic voice similar to those heard from text-to-speech voice generators. AI Aloy’s facial movements are stiff and her eyes appear lifeless as she converses with Raghoebardajal.
Burch, who has voiced Aloy in all four Horizon video games released so far (Zero Dawn, Forbidden West, Call of the Mountain, and Lego Horizon Adventures) took to social media platform TikTok to confirm that she had seen the video, and that Horizon developer Guerrilla had got in touch to let her know that the tech demo did not reflect anything that was in active development, nor did it use any of Burch’s performance (facial or voice data). That presumably rules out AI Aloy for the upcoming Horizon multiplayer game, assuming the character is in the game, and the inevitable Horizon 3. However, as Burch pointed out, Guerrilla (and parent company Sony Interactive Entertainment) owns Aloy as a character.
With all this in mind, Burch said the AI Aloy video left her feeling “worried about game performance as an art form,” and used it as a jumping off point to discuss the ongoing video game voice actors strike that has claimed a number of high-profile casualties in recent weeks.
Last week, the Screen Actors Guild – American Federation of Television and Radio Artists (SAG-AFTRA) issued an update to its members on the status of negotiations over video game actor AI protections, saying that while progress had been made, it was still “frustratingly far apart” with the industry bargaining group on key issues.
“Currently what we’re fighting for is, you have to get our consent before you make an AI version of us in any form, you have to compensate us fairly, and you have to tell us how you’re using this AI double,” Burch said.
“I feel worried not because the technology exists. Not even because game companies want to use it. Of course they do. They always want to use technological advancements. I just imagine a video like this coming out that does have someone’s performance attached to it, that does have someone’s voice or face or movement. And the possibility that if we lose this fight, that person would have no recourse. They wouldn’t have any protections, any way to fight back. And that possibility, it makes me so sad it hurts my heart. It scares me. I love this industry and this art form so much and I want there to be a new generation of actors. I want there to be so many more incredible game performances. I want to be able to continue to do this job. If we don’t win, that future is really compromised.
“I’m genuinely not trying to put any game company specifically on blast,” Burch continued. “Certainly not Guerrilla. The technology isn’t the problem. Game companies wanting to use the technology isn’t the problem. The problem is we’re currently on strike and the bargaining group will not agree to give us common sense protections.
“I support the strike. I’ve always supported the strike. I believe fighting is what we have to do to protect the future and the longevity of this career that we all love so much.”
Burch then pointed to the temporary union contracts that currently give all the protections the striking voice actors are asking for, that any video game company can sign right now. “There’s the interim, the tiered, and low budget agreement contracts available right now for any game company to sign,” Burch said. “I believe we deserve to be protected.”
Generative AI is one of the hottest topics within the video game and entertainment industries, which have both suffered massive layoffs in recent years. It has drawn criticism from players and creators due to a mix of ethical issues, rights issues, and AI’s struggles to produce content audiences actually enjoy. For instance, Keywords Studios attempted to create an experimental game internally using entirely AI. The game failed, with Keywords citing to investors that AI was “unable to replace talent.”
And the voice actor strike has begun to impact a number of video games. Players have reported that games such as Destiny 2 and World of Warcraft appear to have certain NPCs left unvoiced in otherwise voiced scenes, likely due to the strike. Late last year, SAG-AFTRA struck League of Legends after Riot allegedly tried to subvert the strike by canceling a game in response. And Activision confirmed Call of Duty: Black Ops 6 characters were recast after players expressed concern about new voices.
“For instance, non-player characters in games could interact with players based on their actions, making it feel more personal,” Qizilbash said. “This is important for the younger Gen Z and Gen Alpha audiences, who are the first generations that grew up digitally and are looking for personalization across everything, as well as looking for experiences to have more meaning.”
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.
Who doesn’t love a pirate game, especially a pirate game that involves racing your ships around an archipelago of islands? And, extra-especially, a pirate game that’s currently on sale? Glory Islands, from Rio Grande Games, typically retails for $45, but Amazon has it on sale right now for the oddly-specific price of $32.17. To save you a calculation, that’s a 28% discount. Not bad.
Glory Islands for 28% Off
In Glory Islands, you’ll be dropping off your scurvy crew onto the spaces in the hope of winning treasure and scoring points via a fun mishmash of different mechanics that adds up to a shipshape whole. Ship movement is governed by playing numeric cards from your hand that also have special powers, such as the five allowing you to pause and drop a second pirate. But be careful, as using too many high-value cards will cost you points at game end. Occupying an island space wins you small bonuses but, once an island is full, it bags a bunch of points for the player with the most crew members there.
Glory Islands is a fast, fun, family-friendly board game that doesn’t have the depth to sustain itself over repeat plays or for hardcore hobbyists, but it’s plenty enjoyable if you pick it up at sale price. Getting the balance right between doing well in the race, while still hitting the spaces you need to score with your crew and not incurring a penalty for sailing too recklessly is surprisingly hard. And there’s real tension in watching where other players drop their sailors, as islands you think are in the bag can swing away from you with surprising speed.
The game also comes with neat wooden ships and sailor pieces, plus miniature barrels of rum you can stockpile to really feel like a miniature pirate king.
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Matt Thrower is a contributing freelance writer for IGN, specializing in tabletop games. You can reach him on BlueSky at @mattthr.bsky.social.
One of the most memorable moments in the entire Assassin’s Creed series happens near the start of Assassin’s Creed 3, when Haytham Kenway has finished rounding up his band of assassins in the New World. Or at least, the player is led to believe they’re assassins. Haytham, after all, uses a hidden blade, is just as charismatic as previous series protagonist Ezio Auditore, and has – up until this point in the campaign – played the part of a hero, busting Native Americans out of prison and beating up cocky British redcoats. Only when he utters the familiar phrase, “May the Father of Understanding guide us,” does it become clear we have actually been following our sworn enemies, the Templars.
To me, this surprising setup represents the fullest realization of Assassin’s Creed’s potential. The first game in the series introduced an intriguing concept – find, get to know, and kill your targets – but fell short in the story department, with both protagonist Altaïr and his victims being utterly bereft of personality. Assassin’s Creed 2 took a step in the right direction by replacing Altaïr with the more iconic Ezio, but failed to apply the same treatment to his adversaries, with the big bad of its spinoff Assassin’s Creed: Brotherhood, Cesare Borgia, coming across as particularly underdeveloped. Only in Assassin’s Creed 3, set during the American Revolution, did the developers at Ubisoft devote as much time to fleshing out the hunted as they did the hunter. It lent the game an organic flow from set-up to payoff and, as a result, achieved a delicate balance between gameplay and narrative that as yet hasn’t been replicated since.
While the current RPG era of the series has largely been well received by players and critics, a wealth of articles, YouTube videos, and forum posts agree that Assassin’s Creed is in decline, and has been for some time. What exactly is responsible for this downfall, however, is subject to debate. Some point to the increasingly unrealistic premises of the modern games, which have you face off against gods like Anubis and Fenrir. Others take issue with Ubisoft’s implementation of a varied spectrum of romance options or, in the hotly-disputed case of Assassin’s Creed Shadows, replacing its hitherto fictional protagonists with a real-world historical figure, an African samurai called Yasuke. My personal nostalgia for the Xbox 360/PS3-era games notwithstanding, I’d argue it’s none of these. Instead, such decline is a result of the series’ gradual abandonment of character-driven storytelling, which has by now gotten buried deep inside its sprawling sandbox.
Over the years, Assassin’s Creed has padded its original action-adventure formula with a slew of RPG and live service-ish elements, from dialogue trees and XP-based levelling systems to loot boxes, microtransaction DLC, and gear customization. But the bigger the new installments have become, the emptier they have started to feel, and not just with regard to the countless climb-this-tower, find-that-object side-missions, but also their basic storytelling.
While a game like Assassin’s Creed Odyssey technically has more content than Assassin’s Creed 2, much of it feels wooden and underbaked.
Although allowing you to choose what your character says or does should theoretically make the overall experience more immersive, in practice I’ve found it often has the opposite effect: as scripts get longer and longer to account for multiple possible scenarios, they feel like they lack the same level of polish as a game with a more limited range of interaction. The focused, screenplay-like scripts of the series’ action-adventure era allowed for sharply defined characters that were not pulled thin by a game structure that demands its protagonist be compassionate or brutal on the whim of the player.
Thus, while a game like Assassin’s Creed Odyssey technically has more content than Assassin’s Creed 2, much of it feels wooden and underbaked. This unfortunately breaks the immersion; it’s too often very obvious that you are interacting with computer generated characters rather than complex historical figures. This is in stark contrast to the franchise’s Xbox 360/PS3 era, which in my humble opinion has produced some of the finest writing in all of gaming, from Ezio’s fiery “Do not follow me, or anyone else!” speech after besting Savonarola, to the tragicomic soliloquy Haytham delivers when he is at long last killed by his son, Connor:
“Don’t think I have any intention of caressing your cheek and saying I was wrong. I will not weep and wonder what might have been. I’m sure you understand. Still, I’m proud of you in a way. You have shown great conviction. Strength. Courage. All noble qualities. I should have killed you long ago.”
The writing has suffered in other ways over the years, too. Where the modern games tend to stick to the easily digestible dichotomy of Assassins = good and Templars = bad, the earlier games went to great lengths to show that the line between the two orders isn’t as clear-cut as it initially appears. In Assassin’s Creed 3, each defeated Templar uses their last breath to make Connor – and, by extension, the player – question their own beliefs. William Johnson, a negotiator, says the Templars could have stopped the Native American genocide. Thomas Hickey, a hedonist, calls the Assassins’ mission unrealistic and promises Connor that he’ll never feel fulfilled. Benjamin Church, who betrays Haytham, declares it’s “all a matter of perspective,” and that the British – from their point of view – see themselves as the victims, not the aggressors.
Haytham, for his part, tries to shake Connor’s faith in George Washington, claiming the country he’ll create will be no less despotic than the monarchy from which the Americans sought to liberate themselves – an assertion which rings all the more true when we discover that the command to burn down Connor’s village wasn’t given by Haytham’s henchman Charles Lee, as previously thought, but Washington. By the end of the game, the player has more questions than answers – and the story is stronger for it.
Looking back on the franchise’s long history, there is a reason why one track from the Jesper Kyd-composed Assassin’s Creed 2 score, “Ezio’s Family,” resonated with players to the point of becoming the series’ official theme. The PS3 games, particularly Assassin’s Creed 2 and Assassin’s Creed 3, were – at their core – character-driven experiences; the melancholic guitar strings of “Ezio’s Family” weren’t meant to evoke the game’s Renaissance setting so much as Ezio’s personal trauma of losing his family. As much as I admire the expansive worldbuilding and graphical fidelity of the current generation of Assassin’s Creed games, my hope is that this out-of-control franchise will someday scale itself down, and once again deliver the kind of focused, tailor-made stories that made me fall in love with it in the first place. Sadly, in a landscape dominated by sprawling sandboxes and single-player games with live service-style ambitions, I fear that’s just not “good business” anymore.
Tim Brinkhof is a freelance writer specializing in art and history. After studying journalism at NYU, he has gone on to write for Vox, Vulture, Slate, Polygon, GQ, Esquire and more.
V Boxes are an underrated way to get booster packs at retail prices. You get promo cards and an oversized collectible card too. Trying to track down Lost Origin, Astral Radiance, or Brilliant Stars booster packs without paying inflated prices is bloody impossible as Pokémania 2025 rolls on. Single packs from these sets can now cost £5 to £10 each, especially for the more popular expansions. That’s where Pokémon V Boxes come in.
Pokémon TCG: Hisuian Electrode V Box
The Hisuian Electrode V Box is available for £19.53 and includes two Lost Origin packs, one Astral Radiance pack, and one Brilliant Stars pack.
Pokémon TCG: Virizion V Box
The Virizion V Box is available for £19.99 and includes two Lost Origin packs, one Astral Radiance pack, and one Fusion Strike pack.
V Boxes are an underrated way to get booster packs at retail prices . As a bonus, you get promo cards and an oversized collectible card. Trying to track down Lost Origin, Astral Radiance, or Brilliant Stars booster packs without paying inflated prices is bloody impossible as Pokémania 2025 rolls on. Single packs from these sets can now cost £5 to £10 each, especially for the more popular expansions. That’s where Pokémon V Boxes come in.
These boxes contain four booster packs and cost under £20, meaning you’re paying under £5 per pack while also getting a couple of foil promo cards and an oversized card. If you’re still trying to complete your Sword and Shield-era collections, this is one of the best ways to do it at retail price.
Lost Origin boosters are my main target (Giratina V Alt-Art is my dream pull), Hisuian Electrode V Box is the best choice. It includes two Lost Origin packs along with Astral Radiance and Brilliant Stars, two sets loaded with Trainer Gallery hits. Considering individual packs can run you £6 or more on eBay, this is an easy win.
Want Lost Origin packs but don’t mind swapping out Brilliant Stars for Fusion Strike? Virizion V Box is another bargain. Fusion Strike has some strong chase cards, including Gengar VMAX and Espeon VMAX Alt-Art, so it’s well worth ripping open. Lost Origin’s Giratina V, Astral Radiance’s Origin Forme Dialga, or Brilliant Stars’ Charizard VSTAR are all solid reasons to grab these V boxes before they sell out or go out of print. Both aren’t far off.
Christian Wait is a contributing freelancer for IGN covering everything collectable and deals. Christian has over 7 years of experience in the Gaming and Tech industry with bylines at Mashable and Pocket-Tactics. Christian also makes hand-painted collectibles for Saber Miniatures. Christian is also the author of “Pokemon Ultimate Unofficial Gaming Guide by GamesWarrior”. Find Christian on X @ChrisReggieWait.
If you’re interested in unusual or innovative games, then Maps of Misterra should be on your radar, especially since it’s currently selling at a hefty sale discount. It normally runs in the $30 range, but Amazon currently has it on sale for $12.99, which is less than half price. That’s quite a deal on a game that’s worth a look.
Maps of Misterra on Sale for $12.99
In Maps of Misterra, players are cartographers, seeking to chart an unknown island. You’ll start with some end-game goals of what you think the island is supposed to look like, and initially you’ll place terrain tiles on a shared board trying to match that map. But exploration is a tricky business and you can be mistaken: other players can overwrite your placements with their own until someone takes an extra action to confirm that tile, fixing it in place. Terrain effects, such as being able to see further atop mountains, or travel further over steppe, lend extra weight to the strategy and flavor to the theme.
The result of this clever, two-step, discover and confirm mechanic is a fascinating dynamic and interactive puzzle where your goals push and pull against those of other players, and the island takes shape around them. This also provides a real sense of revelation, of venturing into the unknown as every version of the island is different.
If you enjoy getting into the theme of a game, you can also have a great time loudly proclaiming that your suggestions are the absolute truth against the nonsense other players are trying to foist on the map. It’s fun as a solo board game, too, against an automated opponent so you still get the sense of playing against an active player. The slightly messy interaction might put off some players, but at this price it’s worth a look for its sheer oddness.
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Matt Thrower is a contributing freelance writer for IGN, specializing in tabletop games. You can reach him on BlueSky at @mattthr.bsky.social.
With all the trailers, showcases, and dev diaries that can lead up to a game’s launch nowadays, it’s harder than ever for one to be a real surprise – and that’s especially true of a multiplayer first-person shooter when, like me, you are a Certified Old Gamer™ who’s been playing them since the genre began. Yet FragPunk has done just that. What I worried might end up being a Valorant clone with a card gimmick and a big list of other buzzword features has instead impressed me with how fresh it all feels. That said, a messy mishmash of in-game currencies and rewards hurts the fun that can come from leveling up and chasing cosmetics.
In many ways, FragPunk reminds me of a reverse Ship of Theseus. If every component of a game came from somewhere else, does it eventually become something original? It’s hard to say, but the result here is quite amusing regardless. Like Overwatch, it has very distinct characters with big personalities and unique tools to match them. Like Valorant or Counter-Strike, the primary game mode, called Shard Clash, revolves around teams of five competing to plant or defuse a Converter (aka bomb) or eliminate one another across multiple rounds. And like Fortnite, it has a deep bag of cosmetic items like costumes, weapon skins, stickers, and emotes to entice you to spend some money on this otherwise free-to-play shooter.
FragPunk’s playable characters are called Lancers, and they are an entertaining group to choose from. Some are relatively typical archetypes, like a sniper named Hollowpoint and her abilities that help reveal enemies. Others are way out there, like the punk rocker Axon, who shoots lightning from his guitar. Unlike Valorant, where abilities can give you an edge but are rarely what win a fight, Fragpunk places a much bigger emphasis on using them to dominate the map, which I like. When abilities like Broker’s rocket launcher can instantly erase someone, it feels good to use it yourself or devise a counter on the fly as you see it coming, like throwing down a shield wall as Nitro to provide cover and then returning fire from a remote controlled combat drone.
Naturally, Fragpunk isn’t all lightning guitars and rockets. Your standard assortment of shotguns, SMGs, assault rifles, and more forms the backbone of combat. I don’t mind that the guns really aren’t the star of the show here, but I do wish there was more variety to choose from. There are two options in each category you can select as your primary weapon, and they all shoot pretty much exactly how you’d expect. But the gunplay is at least smooth and responsive, and the fast time-to-kill does a good job of emphasizing the importance of positioning over raw gun skill.
The real star of the show is the Shard Card system.
The other aspect of shooting that stands out is how little movement affects your aim. Unlike Valorant, where stopping and popping is often essential if you want to be accurate, Fragpunk fully embraces running and gunning. I found myself repeatedly lagging behind my squad in kill count until a teammate pointed out that I’m better off treating gunfights like Call of Duty with powers – advice that put me right at the top of the next match’s leaderboard. That style of shooting isn’t necessarily better or worse than the more deliberate action of other games, but it does stick out as atypical for an objective-based tactical shooter in a way that’s a perfect fit with the general FragPunk vibe.
The real star of the show is the Shard Card system. Before every round, each team has three random cards pulled that players can then put Shard Points into, effectively voting on which ones will be active. The costs of their effects vary, and you earn more Shard Points either by getting kills or picking them up off the ground mid-round. Some Shard Cards are simple, like one that increases your movement speed, while others are extremely powerful, like another that forces the next round to play out as a melee battle – or one called Big Heads, which (as advertised) gives the entire enemy team overgrown, easy-to-hit craniums. A few are even downright weird, like Egg King, which causes everyone to lay an egg after crouching for 10 seconds, which you can then eat to regain health. It’s hilarious, utterly bizarre, and unlike anything I’ve ever seen in a shooter before.
I’m surprised by how much I enjoy the card-collecting aspect of FragPunk. You start with access to less than a third of the 169 total Shard Cards that are currently available, and you can earn more after completing matches. Getting more matters, as the cards that are randomly selected before each round are based on what each team member has unlocked. It’s pretty exciting getting a new card and reading what weirdness it’s going to introduce. I also appreciate that you can easily see your collection, read the effect, and, in some cases, watch a quick video showing you exactly what it does.
Rounds of Shard Clash go by fast – possibly too fast. In theory, one team is trying to plant the Converter on one of two objective points, which the other team would then need to defuse… but in practice, the overwhelming majority of rounds end when one team wipes out the other, often in just a few minutes. That means that matches rarely have the same sort of strategic back and forth that makes hard-fought games of something like Valorant so engaging. It also means that Lancers with abilities that have more of a nuanced, tactical focus have seemed less viable overall. I’d love to hunker down with Nito’s turrets and drone to hold a point, but so far that’s just a recipe to have all the action happen elsewhere. Hopefully some balance tweaks will arrive to make the objectives a more relevant part of the action.
The cosmetic hunt is too complex without having a lot of enticing options.
A match ends when one team wins four total rounds, but if both teams reach three wins before that happens, it activates one of my favorite twists: Duels. This has each team face off in a series of 1v1 fights in a small arena, and whoever survives sticks around to face the other team’s next champion until every member of one has been eliminated. Health and abilities don’t regenerate round to round, which makes it tough for one great player to run the table. The action is as exciting as it is tense, and spectating while you root on your teammate and wait for your own turn is thrilling, especially when you get the win that clinches the Duel and, by extension, the entire match for your team.
Ranked competition isn’t available until you reach level to 30, which can potentially take up to 10 hours. That’s a little on the long side, and I was pretty done with no-stakes matches well before I was able to start playing for rank. Shard Clash is the same in ranked, apart from the fact that you are now playing to six wins rather than four, but the random element of the Shard Cards might be a little too random in this context. It’s tough to be fighting with actual stakes and feel like bad draws are costing you wins. There’s an advanced version of Shard Clash you get access to once you reach Diamond rank that gives teams some control over selecting and banning cards to mitigate that, but I can’t help but feel like it should be the default for ranked competition across the board.
A few other modes add some variety, though none stand out. Simple Deathmatch is nice for shooting practice, and Duel Master is a similarly good gametype to train for those one-on-ones, though it not being the finale of a long match takes a lot of the drama out of it. Outbreak is the most interesting option: Like Halo’s Infection playlist, most players start with weapons while a few turn into Zombies, and everyone who is killed turns and starts hunting the survivors. Unfortunately the matches are much too long, and the mix of zombies with too much health and guns that slow them down tends to make fights frustrating for both sides.
Like so many free-to-play games, FragPunk relies on incentivising people to spend money on things like cosmetics as a source of revenue, rather than game sales. There’s nothing inherently wrong with that model, and it can even be a fun motivator if there are cool things to chase. Here, however, the cosmetic hunt suffers from a mixture of being too complex without having a lot of enticing options that make it feel worth investing in.
There are way too many different currencies. There is Gold, which you use to buy items and new Lancers, and there’s Glunite, which also buys items – those are both earned largely through playing matches and progressing along the battle pass. Then you can buy FragPunk Coins, which cost real money and are also used to unlock characters and items. If you buy into the premium version of the battle pass for 900 FragPunk Coins, which will cost you around $10USD, you’ll earn Battle Pass Tokens to spend on a different set of cosmetics. Meanwhile, playing ranked matches will get you Ranking Coins, which let you pick from an exclusive pool of weapon skins. That’s not to be confused with the Membership Pick, obviously, which you cash in for weapon skins from a different pool. And, of course, if you or create an in-game Club, you can get Club Supplies. These are all spent on basically the same types of things, but from separate catalogs, which creates unnecessary confusion with no benefit to you as a player.
It’s a mess, and that’s without including the additional currencies that will presumably rotate in and out for special events. It’s too scattered, and way too much to keep track of. It’s also hard to feel any interest in figuring it all out when most of the prizes aren’t very appealing. None of the additional skins stand out the way the best options in Marvel Rivels do, for example. Many of the things Gold (the currency you earn the most of) gets you are random pulls for small touches like gun stickers. The most valuable thing Gold can buy, the Lancers, are prohibitively expensive, resulting in a far too coercive push towards spending real money to buy new characters outright – when it took me 10 hours to unlock a single Lancer, that $10 price tag starts to look less like a suggestion.
Even the battle pass, a staple of games like this, misses the mark. There are very few rewards on the free tier of the 60-level pass, and they consist primarily of stickers, icons for your profile, and pop cans that give out random rewards. Paying for the premium tier gives you access to many more prizes, including several bland character and weapons skins… but there’s also an Ultimate level on top of that, which adds very little other than doubling a few of the random pull rewards, two weapon skins, and one Lancer skin. That seems absurd given the Ultimate Pass is more than double the cost of the premium version at a whopping 2500 FragPunk Coins, or around $25.
The developer of Bulletstorm and co-developer of Gears of War: E-Day, People Can Fly, has signed a deal with Sony Interactive Entertainment to develop a new game, codenamed Project Delta.
This comes from a report published by People Can Fly describing the agreement, which stipulates Project Delta will be made as a work-for-hire game, but does not provide further description of the project.
Just last December, the studio announced it was suspending work on its in-progress Project Victoria, and scaling down another in-development game, Project Bifrost. Prior to that in April, it announced it would be cancelling Project Dagger, which was supposed to be an action-adventure title in partnership with Take-Two interactive.
That still leaves People Can Fly with eight total projects in the works that we know of, including the upcoming Gears of War: E-Day in partnership with The Coalition. We don’t have a release date on that one yet, though the Square Enix partnership game, Project Gemini, was last known to be due out in 2026.
Rebekah Valentine is a senior reporter for IGN. You can find her posting on BlueSky @duckvalentine.bsky.social. Got a story tip? Send it to rvalentine@ign.com.
Sony and game developer Santa Monica Studio have revealed the Dark Odyssey collection, a God of War Ragnarök update coming to players next week that features in-game equipment themed after one of the franchise’s most iconic outfits.
Sony detailed all of the goodies included in its God of War 20th anniversary plans in a PlayStation.Blog post. Dark Odyssey is the real headline here, as it includes a war chest of cosmetic treats for all God of War Ragnarök owners across PlayStation 5 and PC. It’ll arrive as a free update March 20.
Everything included in Dark Odyssey features a clean, black-and-gold look that will no doubt have Kratos and co looking better than ever as they tear their way through Norse mythology. Atreus and Freya both receive their own cosmetic sets as part of the patch, too, as do a variety of the player’s shields and weapons.
The show-stealer, though, is a Dark Odyssey appearance and armor set for Kratos that hearkens back to a skin originally only rewarded to players who managed to beat God of War 2 on God Mode difficulty. Players can claim the content in any Lost Items chest in the base game or immediately in God of War Ragnarök’s roguelike Valhalla mode after the update drops. The patch will also finally introduce the option to customize the appearance of Kratos’ weapons without sacrificing each weapon’s respective ability.
Dark Odyssey Armor & Appearance for Kratos
Dark Odyssey Kratos Appearance
Dark Odyssey Armor Set for Kratos (Dark Odyssey Breastplate, Dark Odyssey Bracers, Dark Odyssey Belt)
Dark Odyssey Companion Armor
Dark Odyssey Vestment for Atreus
Dark Odyssey Witch Frock for Freya
Dark Odyssey Weapon Appearances & Attachments
Dark Odyssey Leviathan Axe [Appearance] & Dark Odyssey Knob [Attachment]
Dark Odyssey Blades of Chaos [Appearance] & Dark Odyssey Handles [Attachment]
Dark Odyssey Draupnir Spear [Appearance] & Dark Odyssey Hind [Attachment]
Dark Odyssey Shield Appearances & Rönd
Dark Odyssey Guardian Shield [Appearance]
Dark Odyssey Dauntless Shield [Appearance]
Dark Odyssey Stone Wall Shield [Appearance]
Dark Odyssey Shatter Start Shield [Appearance]
Dark Odyssey Onslaught Shield [Appearance]
Dark Odyssey Spartan Aspis Shield [Appearance]
Dark Odyssey Rönd
God of War Ragnarök released in late 2022, so one simple update was never going to do the series’ 20-year history justice. Also included in Sony’s plans to celebrate God of War is a long list of other activities and offers for those who have stuck with Kratos’ story since the beginning. Highlights include a collection of some snazzy social media assets (that you can download here), an art showcase coming as part of a collaboration with Los Angeles’ Gallery Nucleus, new merch, sales, multiple vinyl releases covering the franchise’s history, and more.
“On behalf of everyone at Santa Monica Studio, we are immeasurably grateful to have had the chance to build the legacy of this series with and for you, the fans of God of War,” the studio said.
Michael Cripe is a freelance contributor with IGN. He’s best known for his work at sites like The Pitch, The Escapist, and OnlySP. Be sure to give him a follow on Bluesky (@mikecripe.bsky.social) and Twitter (@MikeCripe).
