I have some good news and some bad news. The good news: to celebrate the upcoming video game LEGO Batman: Legacy of the Dark Knight, LEGO has announced four new Batman LEGO sets, and each one comes with a code for in-game DLC. They’re all up for preorder now.

The bad news? They’re not coming out until March 1, 2026. But three of them are iterations of the Batmobile, and some of them may just end up in our list of the best Batman LEGO sets. Let’s take a look, and you can lock in whichever set(s) you want right now.

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As mentioned above, all of the sets are associated with the upcoming video game LEGO Batman: Legacy of the Dark Knight, which is scheduled to release sometime in 2026. Each of the Batmobile sets comes with a code for a gold variant of that vehicle in the game. The Batman Logo set gets you a gold variant of Batman himself.

LEGO DC Batman: Batman Logo

LEGO DC Batman: Batman v Superman Batmobile

LEGO DC Batman: The Batman Batmobile

LEGO DC Batman: Batman & Robin Batmobile

Bethesda’s long-awaited The Elder Scrolls 6 will include a character designed in memory of a much-missed fan, after a remarkable charity campaign that raised more than $85,000 for Make-A-Wish.

Led by the team behind top lore wiki The Unofficial Elder Scrolls Pages (UESP), the effort will see former member Loranna Pyrel immortalized in The Elder Scrolls 6, after having created a forum-based roleplay campaign series that was inspired by Bethesda’s games and went on to inspire the in-game work one of Ted Peterson, one of the series’ writers.

Fans had previously attempted to get Pyrel included in The Elder Scrolls 6 via a silent auction organized by Bethesda for Make-A-Wish — only to have their group bid pipped at the post by another, anonymous entry.

After that incident, Bethesda agreed to bend the rules and let the UESP gang get a second shot — if they matched the auction’s winning bid of $85,450. And match it they have now done, thanks to numerous donations from The Elder Scrolls creators, the UESP, and fellow fan resource The Imperial Library.

“It’s kind of unbelievable that we got this far,” the UESP wrote in a post on Instagram. “This whole thing started on an offhand comment about possibly teaming up, and then grew into this giant group effort. We’re looking forward to adding this character to TES6.

“We couldn’t think of a more appropriate way to honor Loranna’s contributions to both the Elder Scrolls community and the lore than a community charity fundraising effort like this while simultaneously making an addition the lore proper.”

We just finished up a meeting with Bethesda where we got to design a character for The Elder Scrolls 6. Honestly, a lot of us went into the meeting pretty nervous and even reserved, but now we’re all extremely excited for what’s in store. pic.twitter.com/8493WN6CBB

— UESP (@UESP_net) October 9, 2025

In a follow-up post on X today, the UESP revealed it had just finished a meeting with Bethesda about their Elder Scrolls 6 character, and said they had left “extremely excited for what’s in store.”

As for when The Elder Scrolls 6 might actually arrive, we’re less certain. Bethesda officially announced the game with a teaser trailer at E3 2018, an eye-watering seven years ago. Next, it confirmed The Elder Scrolls 6 had entered “early development” in August 2023, and “early builds” were available in March 2024. When the six year anniversary of the project’s announcement arrived in June last year, even Bethesda development chief Todd Howard paused to say, “oh wow, that has been a while.”

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

It would be easy to take a quick look at Crimson Desert and assume it’s another fantasy action game where you hack and slash your way through enemies with repeated presses of the attack button. And if you equip your protagonist, Kliff, with a sword, you can certainly do that. But tap two of your controller’s face buttons together and he’ll lunge, thrusting the blade directly forward. If you then press both the light and heavy attack buttons at the same time, he’ll transition into a powerful, magic-infused overhead slam, bringing his sword down in an arc of dizzying particle effects. There’s more than one way to swing a sword, basically – and that applies to everything in your combat arsenal.

Transition from aiming a bow into a dodge roll and you’ll trigger a brief window of medieval Matrix slow motion, perfect for scoring a headshot. Cast a spell at the apex of a jump and you’ll launch yourself into the air, riding the energy of the magic’s blast (do it twice more to climb even higher). And, in perhaps the most entertaining example, hold two face buttons in conjunction with shifting the direction of the left analogue stick to unleash a variety of increasingly amusing wrestling moves, from simple grapples to human hammer throws.

For this month’s IGN First, we spoke to the design team at Crimson Desert developer Pearl Abyss to learn how they crafted this deep, multi-layered combat system. The very first thing they said was both surprising and helped contextualize everything: one of the key inspirations for Crimson Desert’s combat was retro arcade games like Samurai Showdown, Final Fight, and King of Fighters. Suddenly, all those multi-button combos and linked moves make much more sense.

But those fighting game combos are not necessarily the thing that Pearl Abyss intended to replicate. The team cites the strong sense of impact that comes with each blow, both inflicted and received, as a key aspect they wanted to capture. That’s clear not just in the visuals, but in the crunchy audio – the sound design team directly references Capcom as an inspiration. But across the 10 different boss battles I’ve fought so far, plus plenty more skirmishes in the open world, it’s clear that there’s more to it than that. Fighting game characters have access to many, many different moves that can be chained together to create unique approaches and strategies. Open world action games, on the other hand, typically have a much more restrained move set – a dodge, attack, and counter, for instance. But despite being a fantasy open world game itself, Crimson Desert’s long list of combat moves seems to be gunning for the breadth of options that fighting games thrive on.

Kliff’s ever-expanding ability tree means there’s a multitude of ways to approach any fight. It’s not just ranged vs melee, but the more minute choices within those options. Will you weave kicks and suplexes into your swordfight? Channel lightning down your blade? Use whistling arrows to summon artillery strikes? The important takeaway here is that Pearl Abyss refuses to provide any real strict definition for Crimson Desert’s combat system – unlike something like Batman: Arkham, there’s no rhythm or pattern to follow. The combat team told me that they had no interest in creating a game where you have to respond to on-screen prompts by pressing specific buttons, the kind of system we’ve seen in games like Mad Max, Shadow of Mordor, and both Marvel’s Avengers and Spider-Man games. Instead, the studio aims to fulfill a player’s fantasies by allowing them to do whatever they want in any situation.

That arguably makes Crimson Desert’s approach to battle a bit loose, and for some, the distinct lack of rules or rhythm may be frustrating. There are no hard counters for particular enemies, for instance, nor any kind of strict rock, paper, scissors relationships between different attack or defence types. A particular weapon may be stronger against shielded enemies, for instance, but there’s no requirement for you to use it. The same applies to bosses – while they certainly have attack patterns that can be memorised and weaknesses that can be exploited, Pearl Abyss has no interest in demanding you pay attention to that. The team believes any method of attack should be valid (within reason – you can’t swing a 500-pound monster by its ankles, of course.)

This “there if you want it, but no worries if you don’t” approach extends out into the world itself. The BlackSpace engine that powers Crimson Desert is able to simulate elemental reactions, so water can either freeze or conduct electricity when struck by the correct spell, while wood will burn and smoulder when set alight. The combat team cites the modern Legend of Zelda games as inspiration for this, in which there’s constant interaction between you and the environment. But this is very much a system that you can master and exploit if you choose to, rather than a core component of combat. For instance, there won’t be a boss battle where you have to freeze water to hold your foe in place, or coax them into a metal grid you can then electrify with a lightning spell.

Kliff is not a wizard, and so his spells come courtesy of a bracelet that grants him simple mastery over fire, ice, and lightning. But new weapons and gear help expand his ability set further than the unlocks on your skill tree. There’s a spear, for instance, which opens up like a propeller and blasts enemies with bursts of wind like a deadly Airzooka, and a sword that summons an angry genie-like creature. The further you progress, though, the wilder the options become. Kliff is able to ride a number of mounts, which in the early hours are simple horses with no remarkable talents. But head into territory held by The Black Bears and you’ll be able to saddle up on a massive grizzly, which can swipe at foes with sharpened claws, effectively thinning out herds of barbarians.

Fast forward a few hours and things become stranger still. Your simple horse could be traded for a raptor. Yes, you can ride on the back of a literal dinosaur. If you prefer your scaly mounts to fly and breathe fire, then Crimson Desert also has that covered, too – fantasy’s most important creature is present and correct here, and in the game’s later hours you’ll be able to command Tristar the dragon, who’ll swoop in at your beck and call. But that’s not the wildest option. Dispelling any notion that this is a typical high fantasy video game, in Crimson Desert, you can pilot a mech. Yes, really.

The dwarven-engineered battle robot is a late-game treat that asks the question: What if a Bioshock Big Daddy and a Titanfall mech had a baby? Equipped with thrusters, machine guns, multi-target-lock homing rockets, and a wide-radius EMP blast, your sword-and-board-wielding enemies don’t stand a chance.

It’s been seven years since the last Battlefield campaign. A decade since the last one set in the modern day — the intriguing, but ultimately flawed Hardline. In that time, Doom and its sequels took the speed of a single-player first-person shooter to the next level, Titanfall 2 pushed level design forward in inventive ways, and even Call of Duty reinvented itself on several different occasions to varying degrees of success. But Battlefield 6 has little interest in innovation, instead firmly looking back at what made the series so successful two console generations ago. Aside from being an impressive technical showcase at times, its small set of routine missions has little new to offer. There is some variety and a few moments of impressive scale to be found, but it’s all over so quickly you barely have time to savour them. Though it never quite feels like a full-on afterthought, it’s a campaign that comes across as the sidearm of Battlefield 6’s arsenal when placed alongside its more grand multiplayer suite.

Across its nine missions, Battlefield 6 zips around at a furious pace, but I couldn’t help but feel that I’d done it all before, albeit at much lower fidelity. It’s flashy, but lacking when it comes to genuinely interesting level design, with its great feeling gunplay not supported by what you’re asked to achieve with it. On one hand, it makes sense for Battlefield Studios to take this approach and treat the campaign as a training ground for its trademark large-scale online warfare — the pure size and number of enemies that flood the screen in its missions are certainly in conversation with this. But in the other palm, it crushes all hope of crafting a thrilling story that has the chance of stepping out of the shadow cast by those multiplayer modes.

That’s not to say there aren’t splashes of inspiration. A particular highlight was a sequence that takes place on a crumbling New York bridge. It’s at least visually interesting, even if it offers no great variance in what it’s asking you to do gameplay-wise. There’s just no one mission that screams out as an all-timer here, even if there are attempts to ape Modern Warfare’s Clean House — which fails to capture any of the desired tension — or its own version of a Normandy landing as you storm a Gibraltar beach. It’s, oddly, very much a ‘Call of Duty’ campaign in its map and objective design, and struggles to stamp much of the signature Battlefield large-scale action that made me fall in love with the series. I find it frustrating not to see risks being taken creatively, especially when such a vast budget is available to fuel such ambition.

One later chapter set amongst the mountains of Tajikistan does take place in a wide open area and echoes the multiplayer roots of the series, as you’re encouraged to take your own approach when completing the task at hand. In theory, this could be exciting, with all manner of airborne and ground vehicles ready to be controlled at your fingertips and a vast library of weaponry and gadgets to gear up with. In practice, it presents as more of a thin veneer of choice rather than drastically different ways to tackle objectives, with the range of tools at your disposal kept frustratingly limited. You’re given a drone to play with and a choice of ATVs and armored trucks to drive, but little beyond that. I’m just not a fan of this larger map approach when it comes to first-person shooter campaigns, much preferring an authored hand to level design, rather than being handed a box of crayons to make my own fun with. These stretches are worryingly close to Modern Warfare 3’s “open combat missions” at times — a memory I never wanted to relive, yet again so soon after, but at least they do feel philosophically more at home as Battlefield arenas.

Thankfully, these don’t make up the majority of the campaign, but what’s found in its smaller scope staging isn’t any more exciting. You’ll often find yourself hunkering down in tight city streets or behind hulking tanks, waiting for the right opportunity to pop your head out. A run-and-gun mentality simply isn’t welcomed here, with a patient, cover-based approach encouraged — the gunplay is snappy at least, with a satisfying weight to it whenever you do choose to open fire. Assault rifles and LMGs pack a powerful punch and serve as efficient tools when faced with another wave of enemies, and sniper rifles are satisfingly devastating — even if the enemy AI displays little brain to blow out. It gets especially exciting when the impressive destruction tech takes a chunk out of the building you’ve been finding solace in, and you’re forced to scramble to another safe haven. These claustrophobic moments of true jeopardy really are all too rare, though, as for the most part, the campaign is reduced to rinse and repeat objectives that were getting old in FPS campaigns a decade ago.

Having one mission include a sequence where you need to destroy anti-aircraft guns or SAM sites can be forgiven, but doing this on more than three occasions is just downright boring and grinds any gathered momentum to a halt. There are only so many times planting C4 can be considered a fun time, and all too often, you are tasked with standing still amongst the action and pressing a single button in order to continue. On multiple occasions, I was asked to watch some explosions that I didn’t even get to set off take place, or sit in the back of a speeding vehicle and control a mounted turret that only gives you a mild feeling of being responsible for the carnage on screen. It’s on-rails all too often, taking its most exciting moments out of your hands and displaying them in cutscenes, resulting in much of the campaign feeling like the most straight-faced Disney ride ever built. I wanted to be the star of the show, but I just ended up feeling like a passenger.

An early mission that takes you through an abandoned WW2 tunnel network-turned-museum to the decades-old war serves as an unfortunate symbol for the campaign as a whole — a relic of first-person-shooter design dressed up in a new guise. Being funneled through corridors towards the next static shooting gallery to gun down fish in a barrel is hardly exciting in 2025, and it barely was 20 years ago. Outside of a series of tank battles as dry as the desert roads they take place on, it attempts to sprinkle very little of that Battlefield magic into the mix, largely negating environment destruction as part of your toolkit and never once putting you in control of an airborne vehicle. Is it really Battlefield if I’m never zooming along in a fighter jet or unleashing hell from a helicopter gunship?

There’s a slight glimmer of tactical ops magic to be seen, as you can call on your squadmates to activate their personalised skills to help you in a fight. They each come packed with their own multiplayer-class-flavoured abilities, such as Gecko, the recon specialist, being able to tag targets, which, admittedly, does make certain situations ridiculously easy, as every enemy in the area is revealed to you instantly. Ultimately, though, each member ends up playing practically the same and feels like another missed opportunity to add a dash of variety into the mix.

They each fall under the banner of an expert Marine Raider squad called Dagger 1-3 — an unfittingly sharp name for such a dull bunch. On the whole, they’re a fairly cookie-cutter military unit who love nothing more than getting their boots on the ground and shouting “hooah”, with memorable character moments near non-existent. The performances and the shells of humans they inhabit are wholly forgettable, barely coming across as fully formed, and it’s hard to detect any sort of emotion, even when one of their own falls in the line of fire. Nuance is hardly the name of the game when it comes to Battlefield 6’s campaign, though, and its story, centered on taking down a rogue private military force called Pax Armata (ironically, Latin for Armed Peace), proves to be anything but a peaceful one.

It’s a fairly straightforward affair that doesn’t leave too much room for interpretation. For a military shooter about the collapse of NATO, it’s all oddly apolitical in its presentation, and as such, it feels like it has nothing of real substance to say. It’s safe, and as a result, largely uninteresting. At least Call of Duty has attempted to take on subjects such as chemical warfare and terrorism, even if they’ve ultimately been misguided efforts that come across as antithetical to its larger message. It’s not easy to present such important themes delicately, so I can understand why Battlefield Studios may have felt like trying to fire and catch a bullet laced with hot-button issues may have been a risk not worth taking when it could simply choose not to pull the trigger at all. It just means it doesn’t have anything to say on a global or personal level, and all feels a little hollow as a result. It’s a far cry from when the series did tell some engaging tales through the eyes of fun characters in its Bad Company days.

I did also fall victim a few annoying little glitches on the way, such as my character zipping across the screen involuntarily, fuzzy textures popping in, and occasional bullets aimed right at enemy heads leaving zero impact. But on the whole, there’s no denying that it looks and sounds very impressive, with spectacular explosions peppering skylines and gunfire whizzing and cutting through smoke and debris as mayhem ensues around you with regularity. I just wish there was a little more substance hiding behind it all.

Simon Cardy is a Senior Editor at IGN who can mainly be found skulking around open world games, indulging in Korean cinema, or despairing at the state of Tottenham Hotspur and the New York Jets. Follow him on Bluesky at @cardy.bsky.social.