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Last week, Ubisoft appointed three developers to a new leadership team in charge of the Assassin's Creed franchise, including making Assassin's Creed IV: Black Flag and Assassin's Creed: Origins creative director Jean Guesdon the new Head of Content for the series. Now, Ubisoft has delivered an overview of Assassin's Creed from Guesdon that details updates on Assassin's Creed Shadows, Assassin's Creed Codename Hexe, Assassin's Creed Codename Invictus, and more, alongside a tease of a Black Flag remake. We'll break it down below by game name, so let's jump into it: Assassin's Creed Shadows Assassin's Creed Shadows launched last year on March 20, and turns one-year old in just a couple of weeks. Guesdon says as the team reaches this anniversary milestone, it is moving Shadows into its final phase of support. "We're winding things down with smaller, less frequent updates... but still a few surprises," Guesdon writes in a press release. "At the same time, our teams will begin shifting more focus toward what's next for Assassin's Creed." Guesdon also highlights recent parkour refinements to the game made in response to player feedback before transitioning to the next topic in the series. Assassin's Creed Codename Hexe Guesdon acknowledges that Ubisoft has shared little about this project, save for a quick teaser clip that teases it will feature an assassin set during the 17th-century reign of the Holy Roman Empire and the associated witch trials and hunts. Guesdon is actually the creative director for this game, and says players should expect "a unique, darker, narrative-driven Assassin's Creed experience, set during a pivotal moment in history." "We are taking the time to deliver on its ambitious vision, which means we'll be quiet for a while longer, but we love seeing all the enthusiasm happening on our channels and can't wait to unveil more," Guesdon says, closing out the Hexe section of today's franchise update. Assassin's Creed Codename Invictus Guesdon says Assassin's Creed Codename Invictus is a PvP multiplayer experience led by a team of For Honor veterans at Ubisoft Montreal. He calls Invictus a "new approach to multiplayer in the franchise, but it isn't quite what the rumors have suggested." Though Guesdon doesn't discuss which rumors he's referring to, the latest rumors point to Invictus being a Fall Guys-like multiplayer party experience with cartoon-ish visuals... which is not very Assassin's Creed. Guesdon says Ubisoft is looking to bring the community in earlier to help shape Invictus' game experience, likely alluding to playtests. "The team is incredibly passionate about what they're building, and their work reflects our broader goal of offering a wide variety of experiences within the Assassin's Creed universe," he writes in the press release. Assassin's Creed IV: Black Flag Remake Though Guesdon doesn't announce or confirm rumors that Ubisoft is remaking Assassin's Creed IV: Black Flag, originally released in 2013, he does tease its existence. "Speculation around Assassin's Creed is not new, but it's worth repeating: 'Nothing is true. Everything is permitted,' he says, alluding to the Assassin mantra. "Well, except in this case, some whispers have a little more wind in their sails. Keep your spyglass on the horizon." That sure does sound like something someone would say if they knew a Black Flag remake was on the way... And if that's not clear enough, here's a look at an official piece of Black Flag art with Assassin's Creed Black Flag: Resynced on it, revealing that this project will feature Resynced as the new title. Assassin's Creed Live-Action Netflix Series Last year, Netflix greenlit a live-action Assassin's Creed series led by producers from HBO's Westworld and Paramount's Halo series, and Guesdon says more news is coming soon, adding that, "Something tells us you won't have to wait very long" for more details. Assassin's Creed Unity 60 FPS Patch Guesdon closes out the franchise update by revealing that a 60 FPS patch for Assassin's Creed Unity, the French Revolution-set game released in 2014, hits PlayStation 5 and Xbox tomorrow. And, on Xbox, players can check out multiple Assassin's Creed games for free for a limited time as part of Xbox Free Play Days. Other Details Beyond the aforementioned games, Guesdon says there are several Assassin's Creed projects in the works, all at different stages of development, including the mobile game Assassin's Creed Jade, set in ancient China.Guesdon says Ubisoft is "looking into bringing co-op back to Assassin's Creed," revealing that the company did, in fact, pivot away from an early project, but is using lessons learned to shape its co-op approach going forward. While waiting for more Assassin's Creed, read Game Informer's reviews of Assassin's Creed Shadows, Assassin's Creed Mirage, Assassin's Creed Valhalla, Assassin's Creed Odyssey, and Assassin's Creed Origins. After that, read Game Informer's ranking of the entire Assassin's Creed series. How do you feel about these Assassin's Creed updates? Let us know in the comments below! View the full article

Turkish mobile developer Vento Games, founded in 2024 by former execs from Peak Games, Fungo, and Zynga, has raised $4 million in its latest seed round. Read more View the full article

Download BrightGunner for free via the Epic Games Store! BrightGunner is an indie 3d first-person shooter game. View the full article

Sony has reportedly decided to pull back from releasing PlayStation 5 exclusives on PC. Read more View the full article

After releasing first-party games like Marvel's Spider-Man 2, God of War Ragnarök, and The Last of Us Part II on PC over the past six years, PlayStation is returning to console exclusivity going forward. That's according to a new report from Bloomberg, which also says single-player games like last year's Ghost of Yōtei and the upcoming bullet-hell shooter Saros will not be released on PC. This is part of a wider shift in release strategy, which will see PlayStation still launch multiplayer games like this week's Marathon and Marvel Tōkon: Fighting Souls (releasing in August) on other platforms like PC and even Xbox, while single-player releases are expected to remain exclusive to PlayStation 5. Bloomberg cites sources familiar with PlayStation's plans for this strategy, adding that reasons for the shift include PlayStation games not selling as well on PC, concerns that PC releases could hurt the console brand (and sales), and a lack of consistency in release quality and schedules. The report says PlayStation is now returning to console exclusives, which is a notable shift away from its biggest rival, Xbox, which now releases most of its titles on Xbox, PlayStation, and PC. This year's Forza Horizon 6 and Fable are launching on PS5, for example. According to Bloomberg, there were plans to bring Ghost of Yōtei to PC, but those plans were scrapped in recent weeks alongside other planned PlayStation PC releases. That said, previously announced games like the aforementioned Marathon and Marvel Tōkon: Fighting Souls are safe and still coming to PC, as are others like Death Stranding 2: On The Beach and Kena: Scars of Kosmora. The report ends with notice that some executives at PlayStation may not be happy that games like God of War Ragnarök, a beloved sequel in a series that has only ever appeared on PlayStation consoles and handhelds (okay, and on mobile phones that one time), will likely be playable on an Xbox in the future, if the anticipated next-gen console from Xbox is capable of playing PC games as rumored. Though players have seen PlayStation games come to PC over the past six years, it seems those days are over, prompting a returning question: Do you buy a PlayStation 5 to play the company's next big release, or do you skip it altogether? It seems PlayStation is betting on players to do the former. [Source: Bloomberg] Do you think this is the right decision for PlayStation? Let us know in the comments below! View the full article

Tickets for Gamescom 2026 are now on sale, and registered exhibitors have broken records for the third year in a row. Read more View the full article

The Trump White House is debating whether to allow Chinese juggernaut Tencent to maintain its ownership stake in games companies, according to a report in the Financial Times which said the subject had been discussed by senior officials in recent weeks. A Tuesday meeting of cabinet officials on the matter was postponed due to scheduling issues, the newspaper said. The matter is being considered ahead of Donald Trump's visit to China later this month. Read more View the full article

Paramount held its first call with investors after acquiring Warner Bros, but did not mention either firm's gaming divisions. Read more View the full article

Electronic Arts is launching a user-generated marketplace and creator platform for The Sims 4. Read more View the full article

The UK's Insomnia Gaming Festival, which was due to take place in April, has been called off due to "reduced investment in live events from major tech and hardware brands". The organiser said that all ticket-holders will receive refunds. Read more View the full article

Wildlight Entertainment's Highguard will shut down on March 12, 2026, after failing "to build a sustainable player base." Read more View the full article

Nirvanna The Band The Show The Movie is not a video game movie. It's not based on a video game property, or even features video games in its plot in a primary way. But from its opening moments, it's clear that its creators and its director, Matt Johnson, are video game fans, and specifically fans of 16-bit RPGs. Johnson and his creative partner, Jay McCarrol, are also the creators of the viral Wii Shop Update Day video where they run down an impressive list of classic video game titles set to the tune of the Wii's Shop Channel music. We spoke with Johnson about Nirvanna The Band The Show The Movie (and one of its most technically impressive jokes) and his previous movie BlackBerry's relationship to video games, his personal history with video games and his favorite game, the process of making the Update Day video, and lots more. Read on for the full interview. Game Informer: To kick off, and maybe you’re tired of hearing it, but I loved Nirvanna The Band The Show The Movie. I was not super familiar with Nirvanna The Band, but there was so much excitement surrounding the movie that I took my 14-year-old daughter, who knew even less than me, and we both loved it. We’re going to see it again together this weekend. Matt Johnson: You're not the first person who's told me that they brought their daughter or their young son to it in a way where I would have thought… I guess, not that they're not going to get anything, but that they may find it alienating and, like you, the kids had a kind of Saturday morning cartoon experience with it. In the same way that I'm sure you or I felt when we were watching shows on TV as kids. It's so refreshing to hear. There's no better compliment than if somebody, with no context for the cultural references occurring, are still able to follow and enjoy the misadventures of these two characters. A great example of that is the movie opens up with a Chrono Trigger musical sting, which was very exciting for me, and I leaned over to my daughter, and I was like, “Hey! That's specific video game music!” She was like, “Okay, dad. Great. I'm glad you're excited,” was basically her reaction. But I wanted to talk to you about video games because we're a video game magazine, and video games seem to be an aspect of your comedy, for both you and Jay McCarrol. Are video games important to you? Do you play a lot of video games? I would say that video games and game design generally has been the single greatest influence on my creative output at all levels, and I wind up stealing more and I think getting more out of video games that I then regurgitate into work than I do even out of movies. It’s been my secret, and I won't even think of it as a weapon because it's happening unconsciously, but that's been the thing that has inspired me literally – to use the term literally – more than anything else. Final Fantasy I What is your history with video games? What was your first console? The Sutherlands up the street… no, it wasn’t the Sutherlands. It was Adam Forchay up the street, got a Super Nintendo day one of its release, and because of that, we inherited his NES. That was the first console I had. Before that, I would go up, and I would play Nintendo on a neighbor's console. It was the first time I ever saw a video game. We were playing Mario. It was a house full of daughters, and I would see them playing this game, and I was like, “This is unbelievable. What is this?” The same experience that every young kid has of a video game, where they're like, “How are you controlling the TV?” This is blowing my mind. And so my brother and I, we just thought this was a magical device. And the first real game that we spent a lot of time on, he and I – I was five, and he was three – we beat the original Final Fantasy. We got the Nintendo Power [Player’s Guide]. I still don't even know how. I think my parents wrote in to get it mailed to us, because before that, I don't think I had a Nintendo Power subscription because I couldn't read. And so he and I, using that guide, taught ourselves how to read and beat the first Final Fantasy. And then we were just kind of off to the races. Then basically every single Square release we bought and beat. And I mean literally every single one. We pooled our money together to buy a Super Nintendo and then just played through every single, literally every single one of those games. Like start to finish. And this continued… when we got to Nintendo 64, obviously, there were no real RPGs for that system, and so that changed. And then we were playing a lot of Mario Kart, which we play in Nirvanna The Band The Show a lot. And GoldenEye, which we did an episode about, but never really left. EverQuest The real transition was when I was going to a camp with my friends Jason, Sharon, and Ben Taylor, and we had heard right before we went away, and it was a sleepover summer camp. We were going to be there for about a month or something like that. And we had heard there was this computer game coming out that was like a role-playing game that you just kept playing, where you picked the class, and you leveled up, and it was you with a whole bunch of other players, and that game was EverQuest. We printed out before we went to the camp – we didn't have the game yet – we printed out all of the like Gamefaqs-style information we could about it. And that entire time at camp, we just read about the classes, the level-up system, what race gave what attributes. That was a big change because then I came home and was so obsessed with EverQuest that it basically dominated my entire identity for two years. And breaking free from that, like breaking free from a kind of true video game addiction with this one game, was another real turning point in my life, where I was like, “I can't. I love this game so much. I love playing it so much.” But realizing, “Oh, I need to just stop playing it.” And that's when I basically started taking my work as a filmmaker seriously, which would have been in grade 10 or 11, I think. That’s young to recognize that. Since then, I still play video games a lot. Whenever I hear about a title that I think is going to really be useful to me. Basically, every single game by Supergiant, a lot of the big release narrative games where I hear, “Oh, you should really see this game,” I'll often check them out. I have a Steam Deck. I got very, very into the triple-A roguelike games that got released, like Hades and Slay the Spire. Calling them triple-A is ridiculous in this context, but you understand what I mean. I mean, like the top of the categories of those games. I love them. And so does my brother. And I would say that this all kind of comes back to the idea that my brother and I, a lot of our friendship was formed around our common approach to these games. It is one of the things that he and I still get to talk about a lot, like playing Baldur's Gate 3 was a big thing where he would kind of tell me what he was doing, and I would tell him what I was doing, this type of thing. He also loves the Divinity series. My brother knows everything about these games, and so we get to talk about it together a lot, which I really appreciate. Baldur's Gate II This is a generic question, admittedly, but do you have a number one, all-time favorite game? Yeah, Baldur’s Gate 2. That’s a game where I was playing it, and I was like, “I can't believe how good this is.” I mean, I was a little kid, but I couldn't believe it. Is that the game that had the biggest influence on me? I don't know, but certainly there are references to Baldur’s Gate 2 in most of my movies. In The Dirties, we're literally talking about Baldur’s Gate 2. BlackBerry is very Baldur's Gate 2-coded. Just the notion of what BioWare was doing with a story and voice acting and background acting and moving through this world. You can include Baldur’s Gate 1 in that, as well, because they're extremely similar. But there's something about 2, like this great villain, Jon Irenicus, unsuspecting hero… there is so much in that game that had a huge influence on me that I still think about. And playing Baldur’s Gate 3 was obviously such a thrill because those people are clearly Baldur's Gate 2 fans, and they were really doing their best to recreate, and in some ways, trump a lot of that experience. Although narratively, I don't think I don't think it's quite as good. I want to circle back to what you said earlier in that video games are the most influential media to you. Can you expand on that? What did video games teach you about storytelling, or filmmaking, or comedy? In a bunch of different ways. I would say the most obvious one is that, outside of playing video games, I also, as a very young person, became an extremely, extremely dedicated [Magic: The Gathering] player. I stopped that, too, around the same time. But, understanding the min-maxing of deck design, or game design, or character design. And by character design, I mean as the player, where I'm trying to make the best, most powerful character. Like the min-maxing of that, for some reason, put me in a headspace that was so primed for the editing process of filmmaking, where you realize that so much of moviemaking, after you've shot it, really is gamified. You're dealing with the footage you've shot, the seconds you have in a shot, how you're cutting from this thing to this other thing. It’s not like this is a conscious act that I'm taking, but it feels like a game, and it feels like a game you can win when you're editing your own stuff. I think just having that approach to it allowed me, especially at a young age, to become totally lost in the process of post-production and editing and re-editing and rewriting things and redoing it, and redoing it, and redoing it in the same way you would a video game and viewing filmmaking like you would view playing a game where it's like, yes – you die. But then you come back, and you get to play the level again, and you can die again, and then get a little bit farther, and a little bit farther. And that iterative process got drilled into me by playing these games where the difficulty was way beyond my ability to play them. That helped me to view filmmaking as that same exact thing, where if you go in and do it and it doesn't work? That doesn't mean you stop and put the controller down, or that you go, “Okay, well, that's as good as I can do. So I'm just going to deliver this.” It’s like playing Dark Souls. The fun of it is trying to do it again, and again, and again, and again until you really have it right. But that's just one slice of that answer. The other answer is that thinking about game design and thinking about game designers. Have you seen Indie Game: The Movie? Yeah, I've even talked to some of those folks about the movie. Jonathan Blow's philosophy on creativity vis-à-vis video game design – it changed my life. And I'm not even sure if this is his central philosophy, but the speech he gives about when he was first developing Braid, and he says, so much of my career, my fundamental belief was the deeper you dug – this is using an analogy – the deeper you dug, the more gold you will find, right? The gold was buried underground, and you had to dig to get it. And by that, he's saying you had to spend a lot of time coding a level so the level was really, really clever. Or you need to come up with very complicated game systems where it would take you as the programmer days, and days, and days, and days, and days to have these mechanics were just so and perfect. And it was like the effort you put in was equivalent to the gold or the experience the player got out of it. And he said, with Braid, just coming up with that simple idea that I hit one button and Mario goes backwards in time, brought all the gold to the surface, and he realized all he needed to do was bend down and pick it up, and that he had been making video games wrong his entire life. It was a contextual change of how he approached video game design that was more important than expending more effort on the way that everybody else was making the games. And that was fundamental to the way that I organized my creative work. I will never be able to put in more leveraged effort on one of my films than an American in Hollywood would be able to do. Like, Steven Spielberg is the ultimate example of this, right? He kind of has infinite leverage, and he could have the best in the world working nonstop on his movies. The latest [Paul Thomas Anderson] movies. Another good example of this, where it's like he has the absolute best at the budget of that movie, $150 million… A slightly higher than the budget of Nirvanna The Band The Show The Movie. Yeah, and it shows because it's why everything in that film is so perfectly executed. And the film never drops you because they worked so that you would never drop you. Whereas someone like me, I need to find a contextual change that is going to allow me to make movies that can't necessarily compete with these movies, but will be able to hold audiences' attention for different reasons. And it is that Jonathan Blow thing. That's exactly what I'm looking for. A situation where, because the movies that I'm making are contextually different, I don't need to expend the same effort. I know the analogy blends these words into totally different meanings, because, of course, it's an insane amount of effort to make a movie like Nirvanna The Band, but it is not the same as 300 people on your crew working tirelessly for months to create, like, flawlessly, perfect camera motions, following the best actors in the world, delivering brilliant dialogue. This is just something different. Nirvanna The Band The Show The Movie (2026) I think it's fascinating to hear you refer to editing as playing a video game, because I had a similar reaction myself to Nirvanna The Band The Show The Movie. When my daughter and I walked out of it, we said, “I don't know how they made that. I don't know how they got all those pieces to line up.” It does seem like you basically had to solve a gigantic puzzle. And you managed to get all the pieces together like you would solving an environmental puzzle in a Zelda or something. That's what makes it so fun. And I gotta’ say, it is also the thing that motivates my friends and I to make these things, because it doesn't feel like we are covered in mud trying to climb up a mountain, which is the way I think a lot of production often feels with us. It truly is a game where you… an example would be we find this great piece of footage of us as kids, where I say, “You know, Jay, I think things are going to work out okay for us.” And then in the same shot, we walk down the street, and we say, “Hey, does that guy look like me? No, that guy looks like me.” And that's the starting piece that we got. We found that piece. And so we go, “Oh, isn't this fun? Now, what does this piece lead to?” In the same way that we have this huge box of puzzle pieces that are all turned upside down, and it's easy for us to imagine, “Okay, now we need a piece to slot into this of old Matt and Jay,” because that's obviously who we saw. “Okay, so why are we on Queen Street?” And then it's like you get to build it backwards, and it fits so well, it encourages you to keep playing. All the best games – they're fun. And the reason games work and endure is because the player wants to return to them. So I'm trying to make all of my projects similar in that way, where it is exciting for my friends and I to approach it. And it's not like, “Oh God, I've got to go work on this movie that's going to kill me.” It's so painful, which still happens all the time… It seems like you suffered some literal injuries on this one. Right. Well, you know what? The physical injuries are nothing compared to the emotional injury of having to face how badly the footage turns out. Like, if you ask [Curt Lobb and Robert Upchurch], my editors, they'll tell you I'm notorious. I will not watch things. It's a blessing to curse. They have so much time to edit before I can even watch something, because I find it so painful to face all the failures. You can have a real problem. Wii Shop Virtual Console Update Day, your viral short. I think that’s what video game fans know you from. I think 95% of people who’d ever even heard of us is explicitly from that. And it was never made more clear than when I was in an interview, and somebody said, “Wow, so you make this one video and then this film. Why did you decide to just expand that Update Day clip into a movie?” They had no idea that I had ever made anything else. It was like I made that 20 years ago, and now I'm making this movie based just on Update Day, which I took no offense to. I actually found it quite charming. I wish it were true. But yes, I appreciate your point that most people know Nirvanna The band from that. How do you feel about that? Is it a good thing? Is it a frustrating thing? Do you wish people would watch BlackBerry instead? No! The idea of begrudging an audience for however they found things? Look, I think it's a miracle that anybody in the world has seen anything I've done. I was content. I remember when we finished the fourth or the fifth episode of the web series. I was such an angry young man. I was so resentful and negative when I was young, and it was in Toronto when 40 or 50 people started watching that web series that I finally relaxed, and I thought, “Okay, I can die. I feel like I've contributed something to the canon of media that I loved so much.” Everything after that, it's just been like a bonus. For me, it was kind of an early internet video where I was also a person who would check the Wii Virtual Console shop every Wednesday. Yeah, it was great. It blew my mind that what I thought was an obscure nerdy thing was a shared experience with others. It didn't occur to me that there were other people doing this. And then on top of that, it's just a hilarious sketch and a funny bit. How did that come together? What was the germ of the idea there? We were making one video every single week in our apartment, in some ways, for fun. We tried to put something on our website every week, and I think we put something out every Friday or Monday. I don't know what day, but that day, I had this idea to write a song. I didn't even know where I got the idea from, if I'm being totally honest. It’s so weird, I've never been asked this before. Where did the germ of that come from? I love that song and that quote that I say, it's a very danceable song, I've stolen from a friend of mine named JM McNabb, who is actually quoting a Toronto music booker who used to book a place called The Silver Dollar. And I guess those ideas of like, this is a very danceable song with the fact that the song was somewhat bizarre, that bossa nova song to it… I don't know. I remember sitting down with a pen and writing what games rhymed with one another, thinking like, “Oh yeah, Jay is really going to love this.” It's going to be like in some ways… that and still what motivates me to this day is like things I think Jay will laugh at, or things that he will like. And then he got home, and we sort of finished putting the song together, and then we just shot it with one camera. Jared came over, and we just shot it. It took us a while, and then I just went upstairs and started editing it, I think, almost right away. And it was so great because unlike most of the things that we make, it edited itself because we had to stay on the click track, you know what I mean? We didn't have any sophisticated technology. That song was playing in the background of everything, so it all had to match. It was the easiest thing I've ever edited in my life, which made it somewhat pleasant. That's it. And I got to tell you, when we first made that and released it, it was, again, for these like hundred or so people who were watching the show in Toronto, and it wasn't until literally five, maybe even ten years later, people started picking it up. It wasn't on YouTube. It was an FLV file on our own website. I really had no experience of it being like, “Oh wow, look at this. This is good. It's become something. Chrono Trigger It bums me out that since the Wii, moving to the Wii U and now Switch, there is no more shop music. I remember the day it was announced that they were going to stop the Wii Shopping Channel. It is sad. I have a Steam Deck, so I get to experience that same kind of thrill through that. But there was really nothing like Nintendo all of a sudden selling these Sega games that you could play with an old school controller, like it turned that first Wii into, like, the very first, like romulation system, which I just loved. Oh my God. Playing the old classics. I remember, I don't know if it was like Zelda: Link to the Past or maybe Secret of Mana, but like some old title that we opened it up and we were like, “This is insane!” The fact that I get to play these games without any of the modern retouching that they do now, like when they'll put out a 3D Chrono Trigger or something like that. God, that would be awful. That was a very special time for me, because it was all these games that I deeply, deeply loved. And you see in the show, we play so much Mario Kart 64. That was all because of the shopping channel. You mention Chrono Trigger. The music cue at the beginning of Nirvanna The Band The Show The Movie is Chrono Trigger. Did you have to get in touch with Square Enix for that? The truth is, it actually is just Jay playing piano, and it sounds like Chrono Trigger, but it's not. It's just very similar in the same way that all the Back to the Future music he plays is reminiscent of Alan Silvestri’s score, but it isn't. We've been doing that throughout the entire history of the show, where we're trying to evoke the feeling of these things without actually doing them because that's just Jay in the living room playing something that sounds like that. That sound from when you first turn the cartridge on. The end of the movie, then, is also a Chrono Trigger homage without using the actual music? We wanted to basically give the audience the feeling that, “Oh, was this what this whole thing was?" Two kids at home who just played through Chrono Trigger, and we're talking about it as if they did. Do you know what I mean? What if we got in that ship, and what would we do if we could go back to this time? So much of Nirvanna The Band has that dual experience of yes, this is all happening clearly, because it's happening in the real world. But is this also just two kids on a sleepover in the 90s imagining what it's going to be like to be an adult? Scott Pilgrim vs. the World (2010) I don’t know if this aspect was intentional, but it also made me think of seeing Scott Pilgrim in theaters with the Zelda music kicking off that movie. When I first saw what Edgar Wright was doing with video game music in [Scott Pilgrim vs. The World], it blew my mind. I thought, “I've never seen anything this appropriate before in terms of melding video game aesthetics with a film.” It is, to this day, unmatched. It's a tragedy of its story, I believe, that it didn't become a worldwide phenomenon. I think that, and I've talked about this many, many times, because aesthetically it may be in my top five favorite films ever made. I think it's unbelievable what Edgar Wright did. Every two minutes in that movie, there's something that had my jaw on the floor. But I think that it made an error in cleaving so closely to the Bryan Lee O'Malley story. Obviously, it is a beloved comic, and Edgar was a huge fan of it, clearly. I think that keeping with that narrative structure of these seven evil exes and Scott Pilgrim gets with Ramona in basically act one, break into act two of the movie. That worked very well in a comic book series. And in a feature film, I think it made it so that it was very difficult to root for the protagonists, so you were kind of watching an episodic journey. Even though it was done better than probably anything I've ever seen in terms of action comedy. Truly. Like it rivals Jackie Chan movies, but it just did not catch on. And I think that it's a disgrace, in some ways, but it's also a bit of a blessing because it left those amazing video game aesthetics around for all of us indie filmmakers to pick up and use because they didn't become widespread, which they should have because all of that stuff, the Street Fighter stuff, everything, it was incredible. I loved it. Should all Canadian comedies open with referential video game music? Look, that’s more generational than regional. Again, I love video games, and I think that more movies can reference them. We're starting to see that in anime because anime and video games, especially coming out of Japan, are so closely meshed with one another. Capcom, as a company, is already stealing so much from anime already, and so they kind of feed into one another. So that's already happening. You’re involved with a Magic: The Gathering movie? Yeah. I'm writing and directing it. That's probably all you're able to share about it at this point, right? I can't tell you anything. It's badass. I can say that. It's, like, the best project I've ever been a part of in my life. Were you excited about the Final Fantasy Magic: The Gathering cards? It was the first prerelease I'd been to since 2005 or 2006. I took a break from shooting the Anthony Bourdain movie and went with this guy, Jeremy, in Massachusetts to the Final Fantasy prerelease, and we had a blast. It’s Zelda's 40th anniversary this year. Is that an important series to you? And if so, what is your favorite Zelda game? It is. Although I think I have, I would say, a fraught history with it. So, my story about starting with Square titles – I think the reason is that those original action-based RPGs were not as interesting to me as the true, turn-based RPG systems that my brother and I kind of started on. And also, this was just happenstance, we had Zelda II. We had the gold cartridge. And so that was my first experience with Link as a character in that game. It is so different than the rest in the series. And I think if I had had the original Zelda, the isometric top-down view Zelda, it would have been different. And this notion of, you know, tool collecting and adventuring across this map, is very Baldur’s Gate, right? Like, it's very similar to what those original fog of war exploration, Baldur's Gate games were like. I know not really, but just in terms of how they're, how they're absorbed by a kid. So I think I really would have loved it. And so not only did I not get into Zelda, I didn't even get into Link to the Past. My uncle played it, and I think that made me feel like, “Oh, this is a game for adults. I shouldn't play this game.” And so it wasn't until, obviously, the 64 and Ocarina that I was like, “Oh my God.” That game my brother and I played, and we thought, “This is unbelievable.” And so strangely, that was the first Zelda game that I played. And from there I went on, and we played Link to the Past, and we're like, “Well, this game is just incredible.” But I will say that the Zelda game that I think I loved the most, that my brother and I had the most fun with, is actually Wind Waker, which is, to this day, I think is just gorgeous. I just really loved Wind Waker. Then I forget the title, but I was a huge DS guy, and the one where you go into the paintings, what's it called? The Legend of Zelda: The Wind Waker Link Between Worlds? Yeah, I love that. I love that gameplay. And then most recently, my cousin brother-in-law – that's a long story – they got me into the homebrew roguelike Link to the Past game. Have you played this game? I am familiar with it, but no, I have not played it. You have to check this game out. It's unbelievable. Do you remember when IceFrog created Dota? So this guy did that with Link. He basically took all the sprites and the game mechanics from Link to the Past and created Hades. It’s unreal. It’s an undisputed masterpiece. But it’s completely illegal. You can't get it anywhere. You need to download this guy’s specific, like, downloader. There's no way to get it other than through illicit means. But it is as much of a revolution as IceFrog’s Dota was to creating the MOBA. It is that same thing, and I imagine we're going to see a lot more of these super-tuned, super challenging, like Meat Boy-style, super creative level design using ancient properties from that era, and I'm sure this is just the first. I think we're going to see a flood of similar games. It’s a cool idea. Those IP holders should take their old games and do something interesting with them like that. Blizzard embraced it. I think it worked out for them. It led to Warcraft 3 sales. I enjoyed reading the Reddit AMA you and Jay McCarrol did recently, which was really fascinating, and you said you have literally never heard anything from anyone in terms of legal issues related to copyright infringement. Is that true? Yes. You guys skirt the edge with the band name Nirvanna, and there are all the musical cues, but it’s never been a problem? Look, the fact is that any type of litigation would have led to either an injunction or us having to take the episodes or the movie down. It seems like it is done so chaotically and without care, but we work with our lawyers closely to make sure that we're well within the boundary of fair use law. And so if, I think, anybody who inquires – let's say that you're a lawyer representing, you know… pick somebody. John Williams or something like that, saying, “Hey, I notice that my client's music is in this episode of the show, and you didn't seek out permission. Can you explain why you did that?” And our lawyer will just forward our fair use documents to their legal team, and we would never hear anything ever again. That's great. That's awesome, frankly. Well, that's the way it should be, because we are not intending to infringe on copyright for the sake of enriching ourselves. Ever. We are not trying to print Nirvanna the band t-shirts with the intention of confusing the public so that they are buying things from us and not from the estate of the band Nirvana. We're trying to make a cultural point, and all of this is being done for the purposes of creating a new piece of art that is meant to laud and deify all of the things that we put in, whether it's our movie or TV show. We're worshiping them, in a sense, to show you that all of these pieces of work had an influence on a generation of kids. And this is how those people are living their lives now. If anything, we think of all the things that we do as advertisements positively for these brands. Maybe an odd final question, but I wanted to ask you a technical question about one of my favorite jokes in the movie – the woman from Brazil outside of the CN Tower. How did you do that? How did you manufacture that joke? It was secretly one of the hardest things in the whole movie to do. We shot 30 different… well, maybe not 30. I shouldn't exaggerate. We shot that 15 different times with 15 different people to try to get it right. It was next to impossible because the way we do it – I think kind of obvious that we just shoot it backwards, where the thing you see at the end of the film is actually the first time I met her. That's why she gives a sincere reaction, which is, I've never met you before in my life, and she's telling the truth. And that's so important because obviously it's very difficult to act something like that. Whereas if we just hired an actor to do it, it would just get screwed up. And so what you're seeing is… the behind-the-scenes of that is I, holding that wheelbarrow, or Jay's pulling the wheelbarrow, and I'm covered in those gigantic ropes, we go up to her, and I say that line, “Oh, hey, I remember you.” And so even though I've never seen her before in my life. In real life, I've never seen her before. And so she reacts, and then we continue the scene. And then literally within seconds before she gets up and leaves, before the conditions around her change, before that Spider-Man that we show twice moves, we run back as fast as we can, ditch the ropes, ditch the wheelbarrow, and walk up super casually as though it's the very beginning of the movie and I just casually ask her for directions, knowing that the more casual this exchange, the better. And the reason that I say such a nonsensical thing to her, and we might have even changed this with ADR, but I say, “Oh, I need to jump off of this tower.” It gives her permission to give me this reaction, like, “What are you doing?” Like… you just came up to me. All these things that need to go right. The person we're talking to couldn't move. The world around them couldn't really change that much. Jay and I need to run back and forth to these two starting points, like within seconds of one another. We needed to finish a dramatic scene where, in the first scene, I run up the CN Tower. In the second scene, we join a line to go sneak through security, and this person that we're acting with needed to not say, “I just saw you. What are you doing? What are you filming this for?” And so getting all of those things to line up was impossible. Impossible. Impossible. But somehow we did it. I was about to say, I saw it in the movie. I don't know that it was impossible. Yes, but again, when you watch somebody speedrun a video game, you go, “Oh my gosh, how did they do it?” It was the same as us doing a task. Nirvana The Band is basically a tool-assisted speedrun of a movie where you are seeing us do something. It didn't work. We stop, we do it again, we do it again, we do it again, we do it again. We do it again. And so when you see us play at AGDQ, you're like, “Wow, oh my God. It's magic! These guys are incredible! How did they do it?” And the fact is, we just did it hundreds and hundreds of times. To continue to compliment you, the way I've been pitching Nirvanna The Band The Show The Movie to friends is, it's the first time I've seen “special effects” in a movie in years. I haven’t walked out of a movie wondering how they did it like this in a long time. That's a really rare feeling for someone who loves movies and has been watching them his whole life. We can both thank Jonathan Blow. That is how we did it. We found the context by which all the gold is just in our feet. And it is not more complicated than that. Thank you, video games. We didn't talk about it much, but I also love BlackBerry. That’s another very video game-driven movie. That’s the thing I like about your films a lot is you are a person who grew up with video games, and it is clearly a part of your lexicon, it is a part of who you are, and that infiltrates your storytelling in subtle ways. You recognize the value of how video games work. And then there were just the myriad subtle video game things in BlackBerry that are not front and center that I just appreciate. Like having SungWon "ProzD" Cho in a great role and the voice of Sam Fisher. And even separate from all that video game stuff, BlackBerry is a great movie. So I'm a fan. You've got a fan for life. I'm going to see all your movies now. Congratulations. One of the things that really helped me with BlackBerry was reading a history of… I don't know if it was a history of PlayStation development or if it was a history of Naughty Dog Studios specifically, but so much of their early engineering problems that they solved trying to create Crash Bandicoot, I took and used as problem-solving techniques that the engineers in the movie used. It really helped me to understand how engineers can solve a software problem using hardware, which is so much of what the BlackBerry engineers did. They solved very, very complicated software problems using hardware solutions. Nirvanna The Band The Show The Movie is currently in theatres and Matt Johnson's next film, Tony, a biopic about the life of Anthony Bourdain, is currently in post-production. View the full article

Developer Wildlight Entertainment has announced that its free-to-play multiplayer siege shooter Highguard will be shutting down permanently. The game launched less than two months ago, on January 26. Since its reveal as the final world premiere at The Game Awards 2025 garnered a mixed reaction from viewers, Highguard has had an uphill battle winning over players put off by its style of game and general live-service fatigue. Highguard launched with an initially strong player base, but those numbers rapidly dwindled. Despite announcing a year-long content roadmap and releasing substantial post-launch updates, Wildlight would layoff the majority of its employees only a couple of weeks after launch. Highguard’s long-term health has been in question since, with today's news serving as an unsurprising but still unfortunate turn of events. Wildlight posted a message to its social channels stating that Highguard did not garner a large enough player base for Wildlight to support the game long-term. Highguard's servers will remain online until March 12, and the studio will release a final update before then that adds a new playable Warden, a new weapon, skill trees, and account level progression. This patch is expected to arrive either tonight or tomorrow. You can read their full statement below: Today we’re sharing difficult news. We have made the decision to permanently shut down Highguard on March 12. Since launch, more than 2 million players stepped into Highguard’s world. You shared feedback, created content, and many believed in what we were building. For that, we are deeply grateful. Despite the passion and hard work of our team, we have not been able to build a sustainable player base to support the game long term. Servers will remain online until March 12th. We hope you’ll jump in with us one more time to show your support and get those final great matches in while we still can. The team is excited to release one final game update to enjoy in the remaining life of the game. We'll be adding a new Warden, a new weapon, account level progression, and skill trees! Full patch notes are coming, and we're targeting tonight or tomorrow morning for patch release. From all of us at Wildlight, thank you for playing, for supporting us, and for being part of Highguard’s story. Wildlight’s message does not clarify the status of the studio itself, such as whether it will remain operational. According to a recent Bloomberg report chronicling Highguard’s tumultuous development history, less than 20 employees remain at the developer. Wildlight was formed by former developers from Respawn Entertainment who had worked on Apex Legends and Titanfall. Although Wildlight is an independent studio, it was later revealed that Highguard was at least partially funded by Chinese megacorporation Tencent. In our review, we scored Highguard a 7.5 out of 10 with editor-in-chief Matt Miller writing about the game’s flawed – and now unrealized – potential: “The game has a long way to go to be at its best, but for competitive shooter players looking for a departure from expectation, there’s good reason to be hopeful about Highguard’s future.” Highguard's demise is eerily similar to the disastrous life cycle of 2024's Concord, another live-service multiplayer shooter that was similarly lambasted by video game fans (justifiably or otherwise) before release and underperformed to the point that it was shuttered barely two weeks after its launch (with its developer, Firewalk Studios, shut down soon after). It's another sobering reminder of how volatile and nigh-impenetrable the live-service game market has seemingly become, and here's hoping the remaining team at Wildlight is somehow able to rebound. View the full article

Last September, Amazon Prime greenlit a Life Is Strange live-action TV series based on the original 2015 game. Today, the series now has its lead actors portraying the game’s two protagonists, Max Caulfield and Chloe Price. Variety reports that Tatum Grace Hopkins has been cast as Max, and Maisy Stella will play Chloe. Life Is Strange will be Tatum Grace Hopkins’ television debut; she is primarily a stage actress who has performed in Broadway productions such as The Queen of Versailles and For the Girls. Maisy Stella is perhaps best known for portraying Daphne Conrad in the musical drama series Nashville, and also starred opposite Aubrey Plaza in the 2024 film My Old Ass. She’ll also star in the Maude Apatow comedy Poetic License, set to hit theaters this year. Tatum Grace Hopkins (left) and Maisy Stella (right) Based on its official logline, the Life Is Strange TV Show will adhere to the plot of the first game, with protagonist Max described as “a photography student, who discovers she can rewind time while saving the life of her childhood best friend, Chloe. As she struggles to understand this new skill, the pair investigate the mysterious disappearance of a fellow student, uncovering a dark side to their town that will ultimately force them to make an impossible life or death choice that will impact them forever.” Life Is Strange is being helmed by writer, showrunner, and executive producer Charlie Covell, who previously wrote the Netflix series The End of the F***ing World and Kaos, as well as the miniseries Truelove. A Life Is Strange TV show has been in the works in some form since 2016, when Legendary Television was set to adapt it before that project seemingly fell through after years of radio silence (the last real update was reported in 2021). It's unknown when Life Is Strange is expected to premiere on Amazon Prime. This casting news comes only a few weeks before the March 26 launch of Life is Strange: Reunion, the next game starring Max Caulfield that brings Chloe Price back into the fold. You can read all about that game’s announcement here. Life Is Strange is far from the only video game TV adaptation coming to Amazon Prime. The studio is also making a God of War series, and recently unveiled the first look at the lead actors portraying Kratos and Atreus in costume. [Source: Variety] View the full article

Atlus has become almost as synonymous with incredible soundtracks as it has with incredible role-playing games. Thankfully, they're often one and the same, as series like Persona has shown consistent excellence in the original music department. While several vocalists contribute to the iconic sounds of the Persona franchise, one man has been a consistent driving force: Shoji Meguro. While the Persona Live concerts finally debuted in Los Angeles in January, Atlus has decided it's time to bring another game featuring Meguro's compositions on the road with Metaphor: ReFantazio. Atlus has announced the Metaphor: ReFantazio Orchestra Concert world tour, which kicks off in October and will span six countries. The events are an extension of the sold-out premiere that took place in Japan in 2025. Each arrangement, several of which are reimagined for the orchestral sound, will be performed by a 45-piece orchestra, a choir, and multiple vocal soloists. The tour kicks off on October 9, 2026, in Dallas, Texas, before doing two more dates in the United States in Chicago, Illinois, and Los Angeles, California. You can see the full list of tour dates below. October 9, 2026: Dallas, Texas, USA – Texas Trust Credit Union TheatreOctober 11, 2026: Chicago, Illinois, USA – Auditorium TheatreOctober 13, 2026: Los Angeles, California, USA – Peacock TheaterOctober 31, 2026: Kaohsiung, Taiwan – Kaohsiung Cultural Center Jhihde HallNovember 21, 2026: Singapore – Esplanade TheatreNovember 28, 2026: Bangkok, Thailand – Prince Mahidol HallJanuary 22, 2027: London, England – Eventim ApolloJanuary 24, 2027: Paris, France – Le Grand RexTicket presales for the United States and European shows start March 5 at 10 a.m. local time. To secure your tickets, you can head to the official website of the Metaphor: ReFantazio Orchestra Concert World Tour here. As mentioned, back in January, we attended the Persona Live 2026: Awakening show in Los Angeles, which served as the debut of the full Persona concert experience within North America. To learn more about that experience, including insight from the singers behind Persona 3 Reload and Persona 5, head here. View the full article

We're just days away from the launch of Bungie's extraction FPS, Marathon, and ahead of its release, the studio has released a breakdown of everything you can expect in Season 1, alongside a tease of what's to come in Season 2. Plus, alongside these details, Bungie has revealed that everything in seasonal updates, including gear, Runner shells, zones and maps, events, and more, will be free for all players to access or earn in-game. "Seasons in Marathon last about three months, and each season will bring new content and features that change the way you master survival, grow your power floor, and progress through a season," Bungie's Season 1 blog post reads. "Marathon's living universe and gameplay will continue to evolve across seasons, fueled by your feedback and your impact on the world of Tau Ceti as you uncover what happened to the lost colony and on the Marathon ship. Seasonal updates will introduce new gameplay, including gear, Runner shells, zones, events, and more, which will be free for all players to access or earn – no expansions or DLC required." That's an exciting update as Marathon prepares to launch in the ever-shifting live-service genre, one that Bungie has consistently adapted and evolved through Destiny 2, and Season 1 promises to add a lot to the game. Let's break it all down. Marathon Season 1 Details Every player will start fresh each season, putting everyone on an even playing field. Across Season 1, players will complete contracts and progress faction upgrades to gain stronger base stats and better wares in the Armory. Bungie says by doing this and other forms of progression in Marathon, losses will be easier to recover from, and crafting an ideal build will be more accessible. Climb the Ranked ladder, prepare for high-stakes Cryo Archive runs, and secure the most lucrative loot and prestigious rewards for the season. Then, when the season is over, get ready for a progression reset – this includes everyone's gear, contract progression, faction progression, and player level. However, you do keep your achievements and customization options, including cosmetics (earned and paid), titles, and milestone rewards. Liaison contract progression carries over, too, meaning there's no need to unlock the factions each season. "Seasonal resets mean that the game stays dangerous, loot feels meaningful, and there's always a good opportunity to get back into the game or bring a friend in without feeling behind the curve," the blog post reads. "It's a way to say goodbye to the old, welcome the new, and kick off a journey from zero-to-hero with new ways to play, content to master, and things to discover." Season 1: Death Is The First Step Season 1 of Marathon is called Death Is The First Step (or First Step) and marks the beginning of a proxy war between rival factions "competing for power and answers to what happened to the 30,000 lost souls of the New Cascadia Colony, and as a Runner, you're at the forefront of the expeditions." Once the community unlocks access to the orbit of a derelict UESC Marathon ship hanging above Tau Ceti IV, the fourth zone, Cryo Archive, will become available. "Prepare your mind and shell to take on this end-game zone on the Marathon ship, where you'll solve security puzzles, unseal frozen vaults, and come face-to-face with an entity even the UESC fears," the blog post reads. In the second half of March, Ranked Mode will unlock, allowing players to climb the Ranked ladder and earn exclusive rewards each season. Bungie says it will share more details about this mode closer to its launch. Season 1 will also bring events, quality of life improvements, balance tuning, new implants, a new weapon, and other surprises, too, according to Bungie, in addition to the full suite of launch content, which includes: Complete faction and contract progression:All six factions, including Sekiguchi GeneticsAll six launch Runner shells, including ThiefThree zones, including OutpostOutpost will unlock the day after launch, giving the community time to gear up and unlock the zone at Runner Level 1228 weapons, plus modes, implants, cores, and more to craft your perfect buildsEarnable cosmetics, achievements, and storytelling through the CodexSeason 2: Nightfall Bungie says players will start to see the impact of their presence on Tau Ceti IV in Season 2: Nightfall, seemingly alluding to a changing planet as a result of Runner actions. Each season of Marathon, including Season 2, will have a different theme and a unique combination of features, content, and stories that continue to evolve the world and gameplay, according to Bungie, alongside tuning to the game's loot and progression systems. Seasonal updates will always include "a unique set of new content," including a combination of weapons, mods, cores, implants, backpacks, Runner shells, zones, PvE combatants, faction upgrades, contracts, and new ways to play in existing zones. "For example, [Season 2: Nightfall] will bring a nightime version of Dire Marsh, where you'll fight to survive when the lights go out, UESC reinforcements flood in, and the a~~~~~%^&*()_+{}:"<>?~~~ [Editor's Note: That's actually in the blog post, seemingly teasing at something mysterious coming in Season 2]," the blog post reads. "Season 2 will also bring our next Runner shell along with new weapons, mods, cores, contracts, and more." Season 2: Nightfall will also introduce the Cradle, a system designed to give players more autonomy over their Runner shell's statistical strengths and weaknesses. "As we build upon each season, Marathon will continue to grow and evolve," Bungie writes in the blog post. "The game and world today and a year from now should feel meaningfully different as we add new features and go on the journey of discovering what happened to the colonists of Tau Ceti... and what happens when you dig up secrets that are better left buried." And that's everything players can look forward to in the coming months with Marathon, which launches this week on Thursday, March 5, on PlayStation 5, Xbox Series X/S, and PC. View the full article

Claim your free Star Trek Online: Corruption Gift Pack Key and unlock free in-game items, including 1 Terran Empire Odyssey Outfit, 1 ... View the full article

As part of our Invincible VS cover story, we got to spend exclusive hands-on time with Dupli-Kate, the latest addition to the roster. Arguably, the most unique fighter in the game, her ability to spawn clones of herself during battle makes her a particularly fearsome opponent. If you're new to the world of Invincible, Dupli-Kate (real name Katherine Cha) is a member of the young superhero group Teen Team (and later the Guardians of the Globe) who possesses the power to create duplicates of herself. Her clones can think, feel, and perform independently, and they are also telepathically linked to the original Kate. Dupli-Kate can absorb her copies back into herself, and the duplicates can also be killed during battle – and often do. According to developer Quarter Up, bringing the self-replicating hero to life presented the biggest technical challenge of any character in the game. “Once we put her on the roster, we're like, 'Okay, how are we going to do this?’” says game director Dave Hall. “It's a lot of R&D on something like that. You don't see characters duplicating, right? This is not a very kind of normal thing to see in a game, especially in the style that we're doing.” “No one’s ever scared of me. They should be.” - Dupli-Kate Dupli-Kate’s playstyle relies on overwhelming and confusing opponents with her clones, which automatically spawn during certain combos and special moves. The clone sticks around long enough to perform a quick hit or two, making battling Dupli-Kate a disorienting endeavor, since she can attack from multiple angles. A clone may nail ground attacks while Kate leaps to the air to deliver an aerial follow-up. She can send clones to rush the enemy in front of her, potentially eating a hit intended for her. Adding constantly spawning characters to bouts already featuring six fighters leaping in and out while maintaining a consistent 60 FPS took no small amount of technical wizardry. One big help was setting a limit on how many clones appear; I only saw one or two at once, which isn’t much less than the three or four she typically relies on in the comics/show. Her Ultimate fittingly sees her summon a gang of clones that basically mug the opponent, stomping them into the dirt while she follows up with a devastating final attack I won’t spoil. Faithful to the source materials, killing clones causes them to explode into a shower of fleshy chunks. While it’s very fun to pummel foes with these copies, a small twist adds a nice layer of strategy to her abilities. When Dupli-Kate summons a clone, she sacrifices a tiny portion of her health. When the clone is killed, which usually takes a single hit, she loses that health permanently. However, if the clone is reabsorbed, Dupli-Kate regains that health. “It’s this mind game of, ‘I want to maintain this sweet spot where I can set up my [duplicate], follow it up to make sure that it can get back to me, reabsorb my health, but then use that pressure to open up the opponent and stuff too,’” explains lead combat designer Bau Batista. While this mechanic can make Dupli-Kate a bit of a glass cannon depending on how often her clones get destroyed – I lost her quickly in some fights – she’s a blast to play, and her high-risk, high-reward style feels unlike anyone else in the game. “She's an incredible character,” says Hall. “Everybody [who] plays her [has] just kind of fallen in love with her. [...] She was probably the most unique character we've worked on, mostly because of that mechanic of the duplicates. It's really interesting, and I think people are going to love that one.” Game Informer subscribers can read our full Invincible VS cover story here, and you can subscribe today to read the full issue and receive the print edition in the mail as your first issue. View the full article

Platform: PlayStation 5, Xbox Series X/S, PC Publisher: Megabit Publishing Developer: OtherSide Entertainment Release: 2026 Rating: Teen Thick As Thieves is my most anticipated game of the year, but surprisingly, I know very little about it. Though it’s been in development for years, the asymmetrical stealth multiplayer project has remained shrouded in mystery since its announcement. I even sat down for an intimate behind-closed-doors demonstration at Summer Game Fest and still have a limited understanding of the project thanks to a campus-wide internet issue that complicated our short session. The universe works in mysterious ways – apt for a stealth game steeped in peculiar magic. Despite the poor showing, my excitement and curiosity remain unwaning. OtherSide Entertainment is helmed by a legendary game designer, Warren Spector. Known for creating Deus Ex and Thief: The Dark Project, two groundbreaking stealth games renowned for their immersive simulation elements, Spector is a prolific game designer, but he hasn’t released a game since the Epic Mickey series concluded in 2012. “There are very few game-making teams out there with the skillsets to make a great stealth game, which is one of the biggest reasons, in my opinion, that we don’t see many games like this in the market,” game director Jeff Hickman tells me over email. “Our goal is to make a game that is [...] full of emergent gameplay moments and very approachable to any person who wants to play. A game that can be played both solo and in multiplayer modes that ramps up challenges as the player gains mastery of their thieving skills.” Set in an alternate 1910s, Thick As Thieves is a speculative fiction set in the Scottish city of Kilcairn, where magic and technology abound. Whether playing solo, cooperative, or against other player-controlled thieves, multiple maps offer a variety of missions and valuables to steal. Players can track down clues to discover new routes and hidden treasures across Kilcairn, as well. “To support multiplayer well, we are looking at more focused session play, where a team of thieves might complete a mission in a level within a half-hour or less,” Hickman says. “That calls for tighter-scoped levels. But at the same time, we are adding more depth, variety, and surprise to our levels than [Thief or Dishonored] to make them much more replayable.” OtherSide is incorporating magic and speculative technology into Thick As Thieves, not only to realize a unique aesthetic but also to affect gameplay. Floating, magical sentries spotlight the guarded entrances of Kilcairn’s Scottish Baronial architecture, requiring careful consideration to bypass undetected. In some hands-off gameplay footage, I watch as a player equips a magical mask to impersonate a guard and bypass the sentry. However, once inside, they must rely on traditional stealth mechanics, bypassing patrols with careful pathing while staying in the shadows. Further in, a maze of reflected light beams and seemingly weight-sensitive tiles serve as a robust security system, making neutralizing guards much more difficult. In an exciting escape sequence, the thief disappears above the rooftops thanks to their handy grapple gun. “Multiplayer stealth games provide amazing opportunities for cooperative and competitive gameplay, and we’re focusing on breaking new ground in the space in a way that takes advantage of multiplayer gaming without the player frustrations that can arise because of it,” Hickman concludes. “We’re confident that no one has ever built a game quite like Thick as Thieves.” View the full article

Bungie's Marathon Server Slam, which gave anyone interested a chance to hop into the extraction shooter over this past weekend, came to a close yesterday. In its final hours, Bungie shared the feedback and changes it has made, and is looking into further changes ahead of Marathon's launch this week on PlayStation 5, Xbox Series X/S, and PC on March 5. Now, the former Halo and Destiny 2 studio has shared a quick clip highlighting various stats from the Server Slam – it turns out that you (yes, you) died a lot. The video clip, shared via the official Marathon X account, features statistics on player deaths, the number of AI enemies killed, extraction exfil rates, and more. You can check out that video here, but we'll break down the statistics one by one below, too: 9,152,844 Runners killed (Runners are the playable Shells you control on extraction runs)16,554,683 total deaths (self-explanatory – players died...a lot)Most Popular Shell: Assassin (the Assassin Shell is one of six shells, and features a toolkit of abilities based around stealth, like smoke, invisibility, and more)129,160,928 UESC killed (UESC is the AI enemy faction that can be found around the game's various maps)997,950 Rooks deployed (the Rook is a solo-only Shell that is meant to be a scavenger who stays out of firefights)549,445 Rook deaths (awh man)1.3% no exfil matches (a match where not a single team successfully exfiled out of the map, or in other words, ended their run intact)41.8% Perimeter exfil rate (Perimeter was one of the two maps available during the Server Slam, intended for beginners)35.6% Dire Marsh exfil rate (Dire Marsh was one of the two maps available during the Server Slam, intended for more experienced/risky players) As you can see, players (including me) died a lot during the Marathon Server Slam over the weekend...but hey, it was a lot of peoples' first go at the game. The full game, which will feature a sixth playable Runner Shell, additional maps, and a lot more loot, launches this week on March 5. Did you hop into the Marathon Server Slam over the weekend? Let us know how you did in the comments below if you did! View the full article

Xbox has announced the next wave of games coming to Xbox Game Pass this month, and it includes last year's Kingdom Come: Deliverance II, Cyberpunk 2077, the upcoming Planet of Lana II: Children of the Leaf, and more. Plus, Hollow Knight: Silksong, which launched last September as part of Xbox Game Pass Ultimate and PC Game Pass, is coming to Game Pass Premium (a cheaper tier) next week. There's a slew of games coming to Xbox Game Pass this month, so let's get right to it: The Games Coming To Xbox Game Pass This Month Available TodayFinal Fantasy III (Cloud, Xbox Series X/S, and PC): Game Pass Ultimate, Game Pass Premium, and PC Game PassKingdom Come: Deliverance II (Cloud, Xbox Series X/S/ And PC): Game Pass Ultimate, Game Pass Premium, and PC Game PassRead Game Informer's Kingdom Come: Deliverance II review hereComing Soon to a T (Cloud, Xbox Series X/S, and PC) – March 4Now with Game Pass Premium, joining Game Pass Ultimate and PC Game PassEA Sports F1 25 (Cloud, Xbox Series X/S, and PC) – March 4Coming to Game Pass Ultimate and PC Game PassPlanet of Lana II: Children of the Leaf (Cloud, Xbox Series X/S, handheld, and PC) – March 5Coming to Game Pass Ultimate and PC Game Pass – Day One!"Embark on an unforgettable sci-fi adventure with Lana and her loyal companion Mui. Solve clever puzzles, uncover hidden secrets, and confront the dangers reshaping their home." Construction Simulator (Cloud, Console, and PC) – March 10Coming to Game Pass Ultimate, Game Pass Premium, and PC Game PassCyberpunk 2077 (Cloud and Console) – March 10Coming to Game Pass Ultimate and Game Pass PremiumRead Game Informer's Cyberpunk 2077 review hereHollow Knight: Silksong (Cloud, Console, Handheld, and PC) – March 12Now with Game Pass Premium, joining Game Pass Ultimate and PC Game PassRead Game Informer's Hollow Knight: Silksong review hereDreamWorks Gabby's Dollhouse: Ready to Party (Cloud, Xbox Series X/S, and PC) – March 17Coming to Game Pass Ultimate, Game Pass Premium, and PC Game PassLeaving Game Pass March 15Bratz Rhythm & StyleEnter the GungeonF1 23He is ComingLightyear FrontierMythwrecked: Ambrosia IslandAnd that's everything coming to Xbox Game Pass soon this month. Let us know which games you're excited to check out in the comments below! View the full article

Reviewed on: Switch 2 Platform: PlayStation 5, Xbox Series X/S, PlayStation 4, Switch, PC Publisher: Tribute Games Developer: Tribute Games Release: March 3, 2026 Scott Pilgrim EX represents a reunion of sorts for developer Tribute Games. Members of the team worked on 2010’s Scott Pilgrim vs. the World: The Game at Ubisoft and later formed the current studio that developed the well-regarded Teenage Mutant Ninja Turtles: Shredder's Revenge and Marvel Cosmic Invasion. Tribute has become skilled at creating visually nostalgic beat ‘em ups, and its return to the Scott Pilgrim franchise is no exception. It is, however, light on surprises or mechanical innovation. Watch Our Scott Pilgrim EX Review: This entry in the Scott Pilgrim canon takes place at some amorphous time that may or may not be after the recent anime, but is definitely after the comic/movie/first video game. The placement of the story isn’t really important, as it’s all just an excuse to gather nearly every character that has ever appeared in Scott Pilgrim media (plus a surprising number of new ones) to get together and beat up on bad guys. Scott Pilgrim creator Bryan Lee O'Malley’s fingerprint is apparent here, with character dialogue feeling accurate, a consistent art style for all the new characters, and fun Canada and video game references on nearly every screen. I can’t say I was ever emotionally moved by the story – it’s mostly just a vehicle for cameos and setting changes – but I enjoyed its lightness and how unseriously it takes everything. The soundtrack deserves special commendation. Anamanaguchi has returned to create EX’s music after delivering a personal all-time favorite soundtrack for the first game. Time will tell if the sophomore effort will live in my personal playlists as frequently as the first game’s songs do, but there are plenty of tracks I looked forward to hearing again and again as I made my way through Toronto. Unlike comparable classic beat ‘em ups (and the ones Tribute made recently), EX is not broken into levels. Instead, it draws inspiration from River City Ransom and presents you with an open-world Toronto you can fully explore from basically the opening moments. The layout of the world is one of my favorite elements. I enjoyed making my way back and forth across the city and getting into fights along the way while tracking down kidnapped bandmates and collecting instruments and songs necessary to open portals to alternate timelines. Referring to Scott Pilgrim EX’s Toronto as feeling real is ridiculous, as it is undeniably a chaotic cartoon; but never jumping to an overworld map makes the world feel like a considered place in which people live and eat sushi (for stat bonuses, of course). The open city also creates light adventure game opportunities where, instead of just making your way to the right and punching the air until enemies run into your fists, you need to think about where to go based on NPC hints and then actually walk there. The “puzzle” of forward progress is never too complicated, but I enjoyed the moments I had to pause, take a breath, and pull up the map. Combat is chaotic by design and familiar for the genre. I found my character, Roxie, early because she is fast and has a great double jump attack. I spent time with and generally enjoyed everyone (don’t sleep on Robot-01), but didn’t feel much incentive to change characters once I locked in. The combat can also, at times, get a little too crazy, with the player character flying across the screen at high speeds while boxes bounce in every direction, damaging both you and your enemies. The seemingly forever-recuring beat ‘em up issue where you misalign with an enemy and combo away just above or below them, whiffing every swing, persists here. The combat balance is good, though, with only a few bosses getting on my nerves (let me skip the introductory cutscene when I have to retry a boss, please), but I occasionally felt like I was the Chaos Theatre instead of just being inside of it. Scott Pilgrim EX does not offer many surprises, and I am okay with that. Tribute has proven themselves to be very skilled at making this type of game – nostalgic beat ‘em ups – and I am happy to see the streak kept alive. I enjoy the world of Scott Pilgrim, so having an excuse to spend more time there with characters I like set to an excellent new Anamanaguchi soundtrack is enough to make me happy. Just not quite ecstatic. Score: 7.75 About Game Informer's review system View the full article

Australia-based mobile studio Halfbrick has cut 41 roles and ended "a number of engagements internationally." Read more View the full article

Nintendo hosted an Indie World Showcase this morning, and though it only ran for about 15 minutes, it was jam-packed with announcements, from new demos, release dates, shadow drops, and more. There's a lot to go over as the showcase highlighted 12 games alongside 6 more in a quick (but exciting) montage, so let's get right to it! Everything Announced During Today's Nintendo Indie World Showcase We'll be listing every game shown during today's Nintendo Indie World Showcase, in chronological order, so be sure to read all the way to the bottom, as the presentation ended with an exciting shadow drop of one of last year's best games. Denshattack – Release Date + Demo Today Launching on Switch 2 on June 17.Demo available today.In-game train skin exclusive to Switch 2 players.My Little Puppy – Game Reveal Launching on Switch on May 26 digitally, with a physical release coming in June.Play as Bong-gu, a Welsh Corgi, who has crossed over the rainbow bridge – after waiting for an eternity, he picks up the scent of his owner and goes on an adventure to find him in the afterlife.Heave Ho 2 – Game Reveal Launching on Switch 2 and Switch this Summer.In this sequel, team up with three local friends (or three others using online multiplayer) to chain together limbs and more in an effort to platform through various unique settings across eight worlds.Supports Game Share.Moonlighter 2: The Endless Vault – Switch 2 Port Launching on Switch 2 this Summer (the game is currently available in Early Access on PC).Woodo – Game Reveal Launching on Switch 2 and Switch this Summer.Assemble wooden scenes piece by piece, like a coloring book, and watch them come to life with color and animation as you place them.Supports mouse controls on Switch 2.Minishoot' Adventures – Switch 2 Edition Announcement Originally released in 2022, this modern twin-stick shooter is (finally) available on Switch 2 and Switch today!Read Game Informer's Minishoot' Adventures review here. The Midnight Walk – Switch 2 Port Launching on Switch 2 on March 26 (originally launched on PlayStation 5 and PC last May) .Read Game Informer's review of The Midnight Walk here. Rotwood – Shadow Drop This 2.5D sidescrolling brawler comes from Klei Entertainment, the studio behind the Don't Starve series, and launches as a Switch 2 console exclusive later today!Mixtape – Release Date Mixtape launches on Switch 2 (and PlayStation 5, Xbox Series X/S, and PC) on May 7Blighted – Switch 2 Version Announced This isometric action game, set in a psychedelic western landscape, comes from Guacamelee developer Drinkbox Studios, and launches on Switch 2 this Fall. Deadzone: Rogue – Game Reveal Fight, revive, adapt, and repeat in this first-person shooter sci-fi roguelite, which launches on Switch 2 on March 17. Indie Montage – Demos, Release Dates, And More Grave Seasons: Launching Summer 2026Unrailed 2: Back On Track: Launching on Switch 2 and Switch this May, demo available todayToem 2: Launching on Switch this SummerInKonbini: One Store. Many Stories: Launching on Switch 2 and Switch on April 30Outbound: Launching on Switch 2 and Switch on April 23, demo available todayRatatan: Launching on Switch 2 on July 26Blue Prince – Shadow Drop Blue Prince, one of the best games of 2025, is available on Switch 2 today.Read Game Informer's Blue Prince review here. And that's everything announced during today's Nintendo Indie World Showcase. Let us know what your favorite announcements were in the comments below! View the full article

I adored Blue Prince, an indie puzzle game that was one of 2025's biggest surprises. I played it on the Steam Deck, and thanks to a TV dock I have, I was able to cast it to the television in my living room to play alongside my partner. It was a great workaround at the time, because all I really wanted to do was play the game on my Switch, but it wasn't available on the platform yet. However, today's Indie World Showcase turned that around; Blue Prince is coming to Switch 2 later today. The indie game tasks players with exploring a mysterious 45-room house with the goal of finding an even more mysterious 46th room. The catch is that each day, the floorplan shuffles, and players must use roguelike mechanics to navigate the space, solve increasingly complex puzzles, and reach the truth at the heart of the mansion's enigmatic blueprints. Nintendo saved the news as the showcase's "one last thing," which is understandable, given Blue Prince's extremely positive critical reception. It's one of the highest review scores I've ever awarded, and it made it onto my personal top 10 games of 2025 as well as Game Informer's staff-wide list. View the full article