For all of their faults (the list may be endless), the interesting thing about live service games, when done well anyway, is the way they can change from day to day. There’s an actual living quality to them that, even if I’ll always prefer them, a singleplayer game can’t capture as well. One such game that can change quite drastically is Arc Raiders, with its varying map conditions and events, swapping in and out at the whims of its developers. This rotation isn’t something universally loved, but CEO Patrick Söderlund has said that they’re here to stay.
In a few months time we’ll be approaching the anniversary of Square Enix realising that actually, their commitment to releasing certain games only on particular platforms isn’t that good for them after all. These following two years will supposedly have been a time of internal change for the studio, with that translated externally via the Final Fantasy 7 Remake games releasing on more than just PlayStation. Perhaps they’re finally making smart choices! And then last year, instead of finally showing off something like, I don’t know, Kingdom Hearts 4, which was first revealed four years ago now, they announced Killer Inn. Okay! And now, you can try it out for yourself.
Magic: The Gathering is continuing where it left off in 2025, rolling out a whopping four crossover sets under its Universes Beyond branding in 2026: Teenage Mutant Ninja Turtles, Marvel Super Heroes, The Hobbit, and Star Trek.
That’s quite the mix, but at a time when fans are crying out for some consistency and continuity, Wizards of the Coast is about to make the same mistake it made with last year’s marketing cycle.
In short, it feels like it can’t wait to get Secrets of Strixhaven out of the way, forgetting why many people play Magic in the first place.
Magic’s Universes Beyond Sets Shouldn’t Come At The Cost Of Its Own Identity
There’s a running joke that Magic crossovers are the worst thing about the game until it’s a franchise you love, and as a longtime fan of Peter Parker’s adventures, I admit I bought into the Spider-Man hype last year.
It was easy to do, too, since Wizards started revealing cards and products super early, trampling over the Edge of Eternities set in the process. The rest, as they say, is history: Spider-Man was inarguably Magic’s most disappointing set of at least the last year (maybe longer), and Edge of Eternities was much more well-received but invariably didn’t get its chance in the limelight.
While I was hoping that Wizards would take some lessons from it, we’re now entering a 2026 roadmap with seven full sets planned. Lorwyn Eclipsed is great, and only just launched, but that’s January’s set. Preorders are now live for Teenage Mutant Ninja Turtles, Secrets of Strixhaven, and even Marvel Super Heroes.
That last set, by the way, is around five months from launch. While I appreciate that a company needs a line on a graph to go up to show success by bringing in new players, it’s starting to feel like Wizards of the Coast is trampling on Magic’s own legacy in its desperation to talk about crossover sets.
Lorwyn Eclipsed should be a celebration, a chance to return to a beloved Plane full of classic creature types, and instead, we’re getting close to the Turtles landing on store shelves. Looking past Strixhaven to a Marvel crossover, this early (and with the taste of the Spider-Man set still lingering), is just a bad look.
Please, Wizards – don’t let Secrets of Strixhaven suffer the same way Edge of Eternities is. It’s almost unavoidable with such a packed release calendar, but if you can’t pay enough time to your own universes, the ones that have captivated players for over three decades, does that not tell you a change is required?
Honestly, all of this is moot anyway – I’m part of the problem. I’ve pre-ordered some Marvel Superheroes products, and you can bet your Bilbo Baggins that I’ll be first in line for The Hobbit.
Lloyd Coombes is an experienced freelancer in tech, gaming and fitness seen at Polygon, Eurogamer, Macworld, TechRadar and many more. He’s a big fan of Magic: The Gathering and other collectible card games, much to his wife’s dismay.
We’re fans of the final frontier around these parts, so when our combadges chirruped with news of a Star Trek game for Nintendo’s newest console, our anticipation grew like a clutch of tribbles in a grain silo.
As you’ll have gathered from the title, Star Trek: Voyager – Across the Universe is set in the TNG-DS9-VOY era and sees you charged with Captain Janeway’s mission of getting her crew home safely after being thrown across the other side of the galaxy by an alien force.
You know, you’d think that with decades worth of RPGs in existence, side quests would have been more or less figured out by now. And yet, there are still enough games releasing that seem more interested in going for quantity over quality. But for the devs over at Archetype Entertainment, the goal is to make the side quests in their upcoming sci-fi jaunt Exodus not feel just “tacked on.”
My Menace campaign hasn’t been a rousing success. In my first mission, I failed a string of optional objectives and saw one of my squads gunned down by a group of heavily-armed, jetpack-wearing space pirates. I got revenge by running them over with an APC. So, we’ll call it a draw. But I need to up my game if I’m to kick these freeloading bandits off the planet Backbone.
This article contains some spoilers for Baldur’s Gate 3.
So, HBO is turning Baldur’s Gate into a TV show. On its own, that’s quite an exciting proposition: a big-budget, live-action series set in Dungeons & Dragons’ most iconic city? Yes please. But the project’s announcement, which came courtesy of Deadline, contains a line that immediately had me burying my head in my hands.
“The Baldur’s Gate TV series will be a continuation to the games,” says the report, “telling a story that takes place immediately after the events of Baldur’s Gate 3, as the characters — old and new — are dealing with the ramifications of the events in the third game.”
The ramifications of what events, exactly? The defeat of the Netherbrain? Or perhaps the enslavement of it in the name of the Absolute? Or Gale’s choice to turn into a magical nuclear bomb, sacrificing himself to save the city? These are just three of the many ways Baldur’s Gate 3 can end, and that’s before we consider the dozens and dozens of choices that you make on the way to that conclusion. There are approximately 17,000 variations of the game’s final cutscene. How could a TV show possibly “deal with the ramifications of the events of the third game” when every single player has their own version of events?
The answer, of course, is that showrunner Craig Mazin must decide what choices are “canon.” One half of the duo behind The Last of Us’ HBO adaptation must now set certain events in stone in order to create a baseline to build his story upon. But to decide upon a canon series of events for Baldur’s Gate 3 is not the same as, for instance, determining which of Mass Effect 3’s trio of concluding options would be the starting point for what comes next. It’s not a simple case of how the story ends, but everything that happened on the 100-hour journey up until that point, too.
The entire picture of Baldur’s Gate 3, the story any one player lived, is the result of hundreds of decisions, ranging from the tactical to the emotional to the completely unaware. For some, Minsc and his miniature space hamster, Boo, are vital parts of the story. Yet many won’t even know who he is, having passed by and never recruited him to their party. There are those for whom Shadowheart’s escape from the Church of Shar is a defining moment, yet others will have found an equally defining pathway in encouraging her to embrace the dark goddess. And for those players of a more chaotic leaning, Baldur’s Gate 3 is the tale of an unstoppable serial killer that greedily succumbs to their own Dark Urge, tearing limbs off wizards and letting goblins slaughter refugees. The game is less a single story with a handful of different outcomes, and more like hundreds of character threads that are entwined like rope. A rope that grows thicker and longer with every romance (steady now), argument, betrayal, and surprise you experience. To unravel all that and find a single golden thread for television seems at best foolhardy, at worst impossible.
Anyone who wants a sequel to Baldur’s Gate 3 wants a follow-up to their own experience, not Craig Mazin’s.
None of this is to say that the show is guaranteed to be bad, or of poor quality. Considering Mazin’s prior work – in particular, Chernobyl – and HBO’s track record with fantasy programming, there’s every chance that Baldur’s Gate will be a fantastic show, at least when viewed in isolation. But it’s difficult to create that isolation when the project is explicitly a continuation of the journey so many of us undertook for hundreds, sometimes even thousands of hours. And because of Baldur’s Gate 3’s unrivalled branching RPG design, we have all become deeply attached to our own versions of this world and its characters.
It should be said that details of how the show will be structured are still incredibly thin. It will feature a group of new protagonists, so we don’t know to what extent the now-famous party of heroes and antiheroes that make up Baldur’s Gate 3 cast will feature. By being a “continuation to the games”, could it merely exist in a world where the Netherbrain once existed, and tales of heroes’ journeys to defeat it are muttered in the city’s streets like mythical tales? Or will meetings with the likes of Wyll, Astarion, Lae’zel be little more than fleeting encounters, kept somewhat shapeless in an effort to remain relevant to most players’ memories of them? It creates a dilemma: purposefully keep things vague and potentially undercook the history of this world, or pick a defined canon that could alienate large portions of your viewership?
Television adaptations are, of course, designed with more than one eye on wider markets. HBO wants people who have never played Baldur’s Gate 3 to become invested in its world. But that begs the question: why a direct sequel? Why take place immediately after a story that a portion of your audience has no investment in? If half your audience has no attachment to those events, and the other half will almost certainly have experienced a different version of the events you’re building upon, who is winning here? Anyone who does want a sequel wants a follow-up to their own experience, not Craig Mazin’s.
Baldur’s Gate won’t be the first show to tackle this problem. Just this year, the second season of Fallout told a story set after the events of Fallout: New Vegas, an RPG that also concludes with a number of very different, world-defining options. But Fallout has made a number of smart choices. Firstly, it’s not a sequel to the game; it’s just set in the same universe, and thus isn’t trying to continue the plot of New Vegas. Secondly, it’s set over a decade later, and purposefully leaves the events during that time a complete mystery. And so the show’s depiction of the game’s characters and factions doesn’t have to join the dots. Did you hand the Vegas Strip to the Legion in your playthrough? Well, in the 15 years since, they’ve succumbed to infighting and have fallen from their mighty position. You don’t need to know how it happened, it just did.
Using this method, Fallout (sort of) successfully ensures no one New Vegas ending is cemented as canon. Every outcome could have happened, but the result of your choices may not have endured for the 15 years between the game and the show. Larian Studios, the developer of Baldur’s Gate 3, understood the benefit of this kind of time gap; its gargantuan RPG is set more than a century after the events of its predecessor, ensuring it’s not restricted by the conclusion of Baldur’s Gate 2 and has space to create its own story. By starting immediately after the events of BG3, the show won’t have this luxury. It has to make a choice. It has to invalidate thousands of playthroughs. It can’t be the sequel to your experience of Baldur’s Gate 3.
It doesn’t have to be this way. The real lesson to learn from Fallout is that video game adaptations thrive best when they are decoupled from existing stories. So the big question is, why is this not just a Dungeons & Dragons show? You can set a D&D show in Baldur’s Gate. You can call a D&D show “Baldur’s Gate”. You can even include characters and reference (certain) events from Baldur’s Gate 3. But to purposefully shackle yourself to continuing the story of that game, rather than freely exploring its world, feels like purposefully rolling a critical fail on the first round of combat.
Matt Purslow is IGN’s Executive Editor of Features.
Just when we thought our wishlists couldn’t get any longer, Nintendo had to go and drop another Direct. Let’s see who’s working through their backlog to make way for the oncoming deluge of releases in another edition of What Are You Playing.
It turns out the “Mal Reynolds” who issued Steam game Void War with a DMCA takedown was not a troll who also happened to be a huge fan of Firefly. It was actually Warhammer 40,000 owner Games Workshop, which took issue with an image of a shoulder pad.
Last month, IGN reported on Void War, a strategy game dubbed ‘FTL in a Warhammer 40,000 skin,’ after it was pulled from Steam. At the time, its developer, Tundra Interactive, suggested it may have been on the receiving end of a nuisance DMCA takedown from a troll claiming to be Games Workshop.
Void War is often compared to both indie darling FTL and Warhammer 40,000, Games Workshop’s tabletop wargame set in the grim darkness of the far future — and it’s easy to see why. The gameplay looks incredibly similar to Subset Games’ hugely popular 2012 ‘spaceship simulation roguelike-like,’ and the aesthetic is very Warhammer 40,000. The voidships look like Imperial Navy Vessels. Some of the characters look like Space Marines. There’s an actual Psyker that’s called a Psyker. There are “Imperial Shrineworlds.” There’s even a mention of “Imperial astrogation authorities.”
Following the takedown, IGN asked Tundra Interactive for comment, and it responded with something quite unusual. It said that it had received a takedown notice from Valve stating that Games Workshop itself had claimed copyright infringement. But here’s what made this one odd: the claiming information came from Games Workshop’s public-facing infringements inbox and the name “Mal Reynolds.”
Mal Reynolds is a name that will be instantly familiar to Firefly / Serenity fans, because that’s the name of the main character, played by Nathan Fillion, in the beloved but short-lived sci-fi show. At the time, it was thought that it was unlikely that Games Workshop would have someone on its books named Mal Reynolds. But, well, it turns out Games Workshop really was behind the takedown, according to Tundra Interactive.
Tundra Interactive told IGN that Games Workshop eventually replied to the developer to confirm it was their notice, and that the concern was limited to a specific shot from one of the trailers on the Steam store page that it said could give the impression that Void War was associated with Games Workshop. The company specified that the element in question was “the oversized convex shoulder pads with a metallic rim.” And, well, yeah, that Void War trailer did indeed have an image of a character who looked a lot like a Space Marine, complete with “oversized convex shoulder pads with a metallic rim.”
Tundra Interactive told IGN that it disagreed with Games Workshop’s assessment here, but in order to get Void War back on Steam and to avoid a drawn out DMCA fight, it pulled the trailer. It may re-upload it in the future after making an adjustment, but its priority is getting back to work on Void War, the developer insisted. And, to that end, Void War is now back on Steam.
Here’s Tundra Interactive’s statement in full to IGN:
To recap, the initial takedown was triggered by a DMCA notice attributed to Games Workshop. At the time, we could not independently verify the submitter beyond the name and contact email Valve included. The contact email was GW’s public infringements inbox, and the name listed was “Mal Reynolds,” which is also a fictional character from the sci-fi TV show Firefly.
After over a week of no response, Games Workshop eventually replied to our email and confirmed the notice was theirs. They said their concern was limited to a specific shot from one of the trailers on the store page, arguing that certain elements could create the mistaken impression that Void War is associated with Games Workshop, specifically what they described as “the oversized convex shoulder pads with a metallic rim.”
All of the artwork in the trailer is original work created by our artists. While we disagree with their assessment, the simplest way to get the game back up and avoid getting bogged down in DMCA process was to remove that trailer and move on. We may re-upload an updated version later after we find time to adjust that shot, but for now our priority is shipping content and finishing multi-language font support so we can finally deliver proper translations.
Thanks for your patience, and thank you for the overwhelming support. o7 commanders.
All’s well that ends well? Perhaps. Certainly this case shows that Games Workshop and “Mal Reynolds,” who I’d love to meet one day, are keeping a close eye on video game characters and their shoulder pads. Perhaps it shouldn’t come as a surprise, given Games Workshop’s history of stringent IP protection. Be warned! The Inquisition is always watching.
Wesley is Director, News at IGN. Find him on Twitter at @wyp100. You can reach Wesley at wesley_yinpoole@ign.com or confidentially at wyp100@proton.me.
