Cross-platform saves are now available.
Just in time for the arrival of the Switch 2, the award-winning and highly addictive roguelike bullet shooter Vampire Survivors has received a Nintendo platform update.
Most notably, it adds the cross-save feature to the Switch version – meaning you can now play your original or preferred save file across all the platforms you own the game on. We’ve installed this update and have also played it on the Switch 2.
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Want codes for Flashpoint: Worlds Collide? In this article, you’ll find the latest active codes so you can earn cash, experience, suits, and more fast. IGN has you covered for when new ones are released and updates when they expire. This article also explains how to redeem codes if you’re not sure!
Here are all the current active codes for Flashpoint: Worlds Collide and the rewards you’ll get for redeeming them:
Unfortunately, these codes have expired and will no longer work:
Before you can redeem codes for Flashpoint: Worlds Collide you’ll need to follow a few simple steps. Make sure you do these before trying to claim any in-game:
There are two main reasons why a code usually doesn’t work in any Roblox game and the same goes for this experience:
If a code has been entered incorrectly or has expired, you’ll see a message that says, “Not an active code!” To stop this from happening, we recommend copying and pasting the code directly from this article. We check and test each code before we add them to our article. However, when copying them, you can sometimes accidentally include an extra space somewhere. This is why you should always double-check that there aren’t any additional spaces!
We’ll update this article when new codes are added so you can always check back here and keep up-to-date with the latest codes. Flashpoint: Worlds Collide has its own dedicated Discord server where codes are announced, as well as game updates. Certain codes may require going to specific YouTuber channels to find them as well.
Flashpoint: Worlds Collide is a Roblox experience that revolves around Flash from the DC Universe. Players can speed through the city as their own avatar or wear one of many outfits as they fight criminals and earn money doing it.
As you stop crimes, you’ll gain experience so you can upgrade your skills and become faster. Which you’ll need to do if you want to beat other players in races where speed is all that matters. Or you can put more of your skill points into stats like health and damage so you’re an even stronger crime fighter. Become the super hero that you want to be.
Jeffrey Lerman is a freelance game journalist for IGN who has been covering games for over a decade. You can follow him on Bluesky.
The new G-Mode and Red Art campaign is now live.
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Retro game collections are all the rage nowadays and following in the footsteps of classic mascots like Gex and Bubsy are now Joe and Mac.
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Updates for Switch 2 and much more.
Earlier this week, Splatoon fans got quite a surprise when Nintendo unveiled Splatoon Raiders – a new spin-off, exclusive to Switch 2.
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Star Wars fans, don’t miss out on this incredible video game deal. Walmart is currently offering Ubisoft’s Star Wars Outlaws game for Xbox Series X for just $20. This game normally retails for $59.99 and the lowest price I’ve ever seen for it was $39.99 during last year’s Cyber Monday sale. The game is a physical copy that’s sold and shipped by Walmart itself, not a marketplace vendor. You’ll need to get your order total to $35 in order to get free shipping, or choose free in-store pickup where available.
Star Wars Outlaws latest update – dubbed 1.6 – was rolled out earlier in May. The new update arrives alongside the new A Pirate’s Fortune DLC and includes various quality of life improvements, bug fixes, and some freebies like a new Star Wars: Skeleton Crew cosmetic pack.
In other Xbox news, Microsoft officially announced its plans to release two Xbox gaming handhelds during its Xbox Games Showcase 2025 on June 8. The two new handhelds – the Xbox Ally and Xbox Ally X – are part of a collaboration with Asus and based on the existing Asus ROG Ally platform. You’ll be able to play Xbox games including Gears of War: Reloaded and Clair Obscur: Expedition 33. Launch is expected to be sometime during holiday 2025.
Eric Song is the IGN commerce manager in charge of finding the best gaming and tech deals every day. When Eric isn’t hunting for deals for other people at work, he’s hunting for deals for himself during his free time.
Elden Ring ran extremely well on the Asus ROG Ally X, but with the release of Nightreign, handheld gaming PC nerds (like me) are desperate to know if it continues the trend. After all, Shadow of the Erdtree was more demanding than the original, and that was an expansion built into it. Considering Nightreign is a standalone title, it has the potential to take things up a notch. But I have great news: It runs even better than Elden Ring.
That seems surprising, but it shouldn’t be: Elden Ring Nightreign is limited to a small map called Limveld, meaning there’s far less on the screen at any time. It helps that the environment is based on Limgrave rather than anything from Shadow of the Erdtree, which came out two years later and had more complex visual effects that gave my Ally a run for its money.
I tested the game primarily in the castle at the center of Limveld. It’s the largest set piece on the unaltered base map, where giants can throw enormous pots of magic at the player. This is where my framerate consistently dips to its lowest points, so I’m using it as a baseline for performance. I also started a new match between each graphics preset (as recommended by the game).
I set my ROG Ally X’s Operating Mode to Turbo (30W) and plugged it into an outlet, allowing it to output the maximum amount of watts into performance. I also allocated 16GB of RAM to the GPU to get the most of its hardware, which is a unique advantage of the Ally X, as it’s built with 24GB of RAM. Most other handheld gaming PCs feature 16GB of RAM and can only allocate 8GB to the GPU. These settings allow the Asus ROG Ally X to run at its best.
The game runs well on the handheld, but Elden Ring Nightreign can struggle when there are a lot of enemies and visual effects at the same time, especially in more open areas. So, if you’re being ganked by several blood-infused enemies set to self-destruct on your position, all while overlooking Limveld from the top of ruins, the frame rate will take a massive hit. However, in enclosed spaces, like a dense forest, the game fares much better, particularly if you strategically point the camera towards the ground.
My ROG Ally X maintained an average of 30 fps at 1080p on the Maximum preset, with occasional drops down to 27 fps (usually after being bombarded by magic pots). The only other preset that dipped below 30 fps was 1080p on High. It hit an average of 35 fps, but dropped to 28 fps a few times when battling atop the castle. Otherwise, no other graphics preset dipped below 30 fps once. 1080p at Medium settings came in at an average of 39 fps. Low averaged at 43 fps, with a low of 39 fps.
The game runs much better at 720p, even reaching 60 fps occasionally. Maximum at 720p averaged 41 fps, with a 1% low of 38 fps. High came in with an average of 44 fps, with 40 fps at the worst. Medium and low look crunchy, but yield excellent performance.
Nightreign looks great at 1080p with Maximum settings, and plays decently enough. I enjoyed sessions from start to finish on this preset, and while occasional stutters were bothersome, it’s pretty smooth otherwise and often hovered over 30 fps. 30 fps isn’t enough for everyone though, and those willing to take a hit to resolution will likely find a better balance playing at Maximum graphics and 720p, which hovers around 41 fps, hitting a midpoint between smoothness and quality.
Players clamoring for 60 fps on their Asus ROG Ally X will have the best luck at 720p, but you’ll have to reduce the graphics presets to Medium or Low. Even then, the machine cannot maintain an average of 60 fps, and only reaches that high during less demanding encounters, like in enclosed spaces. It doesn’t look great, though, as Limveld appears flat on Low especially. The island loses its complex shadows, and each structure is low-poly.
Claire finds joy in impassioned ramblings about her closeness to video games. She has a bachelor’s degree in Journalism & Media Studies from Brooklyn College and seven years of experience in entertainment journalism. Claire is a stalwart defender of games as an artform and spends most days overwhelmed with excitement for its past, present and future. When she isn’t writing or playing Dark Souls, she can be found eating chicken fettuccine alfredo and gushing about handheld gaming PCs.
2 the max.
One pleasant surprise of the Switch 2 launch, beyond the advertised upgrades — free and otherwise — to various Switch games, has been seeing how some Switch games that once struggled to hit their frame rate targets have gotten a nice boost on the new console.
It seems that Switch 1 games with unlocked frame rates are getting a largely untouted bump in the performance department, with games like the nigh-on unplayable Batman: Arkham Knight — which we called “one of the worst ports we’ve ever played” — now becoming a viable option on Switch 2. Loads times have also shot down for some titles. Result!
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Revealed at the Xbox Games Showcase, There Are No Ghosts at the Grand is a surreal, first-person, narrative-driven mystery. It’s part-renovation game, part-ghost story, part-musical. See the trailer below, and read on for a full breakdown of our unique new game:
You play as a young American man, Chris David, who unexpectedly inherits The Grand, a dilapidated British seaside hotel along the English east coast.
Players will help Chris renovate and restore the old hotel using a set of talking power tools. But be warned… beneath the veneer of paper and paint you apply during the day, something horrible shivers and slithers in the night.
To renovate the hotel, players will have access to exaggerated power tools such as the sand blaster, paint sprayer, furniture cannon, and the daisy chain gun, to blast the hotel back to its former glory. This isn’t a simulation though, players don’t have to be exact. Decorating and renovating is fast, fluid and fun. You don’t have to get every spot – just enough is close enough.
But with only 30 days and 30 nights to complete the job, choose each room carefully – because when the time runs out something will come for you.
Luckily, players are not alone. Meet your AI DIY assistant, Robert C MacBrushy. He’s a cross between Star Trek’s Scotty and Microsoft’s Clippy. He’s also an expert in all things DIY – and the supernatural, but we’ll come back to that.
With MacBrushy’s help, players will smash out old windows, blast broken furniture, splash paint and paper across walls, and shoot furniture cleaner across the room, like some crazy cross between Mary Poppins and Marcus Fenix. But sometimes, you’ll need to slow down and think, as you’ll also come across environmental puzzles that will need a little lateral thinking, and some hidden clues to solve.
Progress is made through the game by completing rooms and revealing their secrets, but you can only decorate by day. At night, you have other problems to deal with.
In There are No Ghosts at the Grand, the main character, Chris, has a secret. Although he inherited the hotel, he’s not just here to renovate… not really.
At night, once the decorating is done for the day, he searches for something. Clues hidden behind walls, old blueprints revealing hidden spaces, strange doors leading to strange places. Players will help him whilst also trying to figure out what’s really going on. There’s something unpleasant lurking in the hotel, something ancient that leaves multi-legged footprints across freshly painted walls. Scuttling can be heard in those walls, furniture moves by itself. At night, the hotel isn’t safe.
But don’t worry, Robert C. MacBrushy is here to help with this too. At night, when the world changes, so do your power tools, and they have hidden modes that have special effects on certain supernatural denizens. Unleash the vacuum on vengeful spirits. Expose invisible assailants with the paint sprayer. Take out an unpleasant spook with a well aimed bookcase to the face with the furniture cannon. If you learn how to use your tools, you can survive the night.
At its heart, There Are No Ghosts at the Grand is a story about people and the baggage they leave behind. You’re never alone as you explore the hotel and the surrounding town, and you’ll meet each of our game’s quirky characters as you delve deeper into the hotel.
Each character is a custodian of a particular room that you can unlock: from Colin, the elderly caretaker in the lounge, to his daughter Lily in the garden. You’ll meet the town mayor, Maddie in the boathouse, and Adam the police officer in the cinema room, watching re-runs of old buddy cop films.
Presiding over them all is Mr Bones, the hotel’s cat, and perhaps its most mysterious resident. Like the hotel itself, he’s a creature of duality. By day, he’s an ordinary cat who follows you around and likes belly rubs. By night, he’s a sarcastic and mercurial character who waxes lyrical (in a deep Australian accent) about the hotel’s many secrets and hidden places. But is he a friend or foe?
Each character has their own story, questline, and agenda, which you can help or hinder as you play. They also each have their own song because There Are No Ghosts at the Grand is also a musical.
There Are No Ghosts at the Grand is a musical, but not in the traditional musical theatre sense. Think of it more like a cool, dusty album of British ska and punk songs from the 1980s that you might find in your dad’s record collection.
These are songs with attitude, bite, and hummable hooks. Each character will introduce themselves through song, the style of which is unique to them, from spooky ska to wartime jazz, and even skater punk.
You’ll be able to duet with them and make dialogue choices in verse to explore their story further. The songs are full gameplay sequences involving player action and choices, whilst the lyrics and furniture go flying.
Players won’t be spending all their time in the Grand Hotel. Right outside the door lies the village of Kingswood-on-Sea, a crumbling, spooky, seaside town, full of secrets and side activities.
This small open world lets players leave the hotel at any time, even at night, to explore its abandoned shops, winding streets and hidden mysteries. You can restore an abandoned minigolf course and play a round or two, comb the beach with a half-working metal detector, or find shops to renovate and restore, each with unique rewards.
The streets of Kingswood-on-Sea are full of strange little secrets, and they reward curiosity. Find a rusty old scooter that you can restore and ride through the village, discover an old fishing boat that players can fix up and take out into the shallow coastal waters, or explore the hidden coves and sunken bays. It even has a winch to dredge for lost treasures, if you can find the locations hinted at in clues found in the hotel.
Just… be back before nightfall. Under the inky blackness of the frozen North Sea, something stirs in the depth, and it slithers onto the land at night.
There Are No Ghosts at the Grand is a game about restoration and ruin. About strange townsfolk and suspicious upholstery. About music, memory, ghosts, and the awkward legacy of inherited property. It’s a spooky, funny, slightly tragic mystery, wrapped in ska riffs, talking tools, and night-time terrors.
You’ll renovate. You’ll investigate. You’ll duet. It’s a musical where you can skip the songs, a comedy with a dark secret, and a game that lies to you constantly, with a narrator you shouldn’t quite trust. If you’re very lucky, or very unlucky, you might just uncover the truth about the Grand Hotel. Assuming the Grand doesn’t uncover something about you first.
There Are No Ghosts at the Grand is a ghost story where the ghosts might be memories, or lies, or something crawling up the beach in the moonlight. The Grand Hotel is waiting, and is coming to Xbox Series X|S, Xbox PC, and Game Pass in 2026. Just… don’t trust the upholstery.
The post There Are No Ghosts at the Grand: Renovate by Day, Hunt Ghosts by Night appeared first on Xbox Wire.
Hasbro has revealed its exclusive Marvel Legends set for San Diego Comic-Con 2025, and ’90s X-Men fans will be pleased. The Marvel Legends Series: Gamerverse Marvel Snap Savage Land 3-Pack features brand new figures of iconic heroines Rogue and Shanna the She-Devil, as well as the fearsome mutant villain Sauron.
Check out the slideshow gallery below for a closer look at this stunning new set:
This set gets the Gamerverse branding because it’s technically based on a series of unlockable cards in the mobile game Marvel Snap. But it also has plenty of nostalgia factor, hearkening back to artist Jim Lee’s run on Uncanny X-Men in the late ’80s and early ’90s.
The Savage Land 3-Pack includes 15 different accessories, such as spears, alternate heads and hands, and even a hypnosis effect for Sauron. All three figures are designed in the usual 6-inch Marvel Legends scale.
The Marvel Legends Series: Gamerverse Marvel Snap Savage Land 3-Pack is priced at $89.99 and will initially be sold only in person at Hasbro’s SDCC booth (#3213). Limited quantities will then be made available on the Hasbro Pulse website after SDCC ends.
Will you be adding this Marvel Legends set to your collection? Let us know in the comments below. And stay tuned for plenty more collectibles coverage as the build-up to Comic-Con continues.
In other Marvel Legends news, Hasbro recently teased a new line of figures inspired by the Marvel vs. Capcom games. You can also check out the many Marvel collectibles available on the IGN Store.
Jesse is a mild-mannered staff writer for IGN. Allow him to lend a machete to your intellectual thicket by following @jschedeen on BlueSky.
If gaming has an equivalent to A-list celebrities, then the only person in the frame for that honor would be German designer Reiner Knizia. He made his name in the mid-late ’90s with a slew of brilliant games like Ra and Battle Line, which struck a beautiful balance between luck, strategy and player interaction, so much so that the latter still ranks among our picks for the best 2-player board games today. His games were so well received that they’d make a memorable legacy for any designer but, astonishingly, the hits just keep on coming. Last year saw him produce the brilliant Cascadero and now, age 67, he’s come out with the appropriately titled Rebirth.
Since this is a tile-laying game, there are a lot of tiles to punch: 144 of them to be exact, across four player colors. These are the most disappointing aspects of production, small, fiddly, slightly flimsy counters that are easily lost and feel like they will wear quickly with the frequent handling required. Each player also gets a little clan board to store spare counters, a score marker and a fun, if superfluous, balloon you flip over when you reach a hundred points.
Thereafter the component quality goes through the roof. The board is double-sided with a map of Scotland on one side and Ireland on the other. The art is lush and green, depicting the titular rebirth: the theme of this game is rebuilding civilization in harmony with nature after an apocalypse. That doesn’t really come through in the mechanics – as is often the case with Knizia – but it certainly does through the presentation.
Yet the board layout is clear and functional despite all the little artistic flourishes you can enjoy. The accompanying decks of cards don’t have any art but are still presented in a matching style and are equally clear and usable.
In keeping with the theme, each player also gets a set of 3D castle and cathedral pieces, intricately detailed sculptures of celtic-style buildings. They’re really delightful, not only for the visual aesthetics but because they’re not cold plastic but feel like pleasantly-textured resin. In fact, they’re RE-Wood, a new technology that allows recycled wood to be molded in great detail while still remaining recyclable. It’s lovely stuff, which we will hopefully see much more of in future releases.
Rebirth is actually two related games in one box. There’s a basic version, played on the Scotland side of the board and a more advanced version, played on the Ireland side. The rules for Scotland are incredibly straightforward. On your turn, you pick up a tile in your supply. If it shows a food or energy symbol, you can place it on any hex showing the same icon, and it will score you points equal to the number of continuous adjacent matching tokens. If it shows one or more house symbols you can place it in a town, a delineated area which isn’t scored until it’s full, at which time it scores points for the players with the most house symbols in the group.
Many hexes are also adjacent to castles or cathedrals. If you place in one of these, you can assign one of your delightful RE-wood pieces to the adjacent feature. Castles are worth a handy five points at the end of the game, but there’s a catch. If another player can get more adjacent hexes to a castle you own than you have, then they can remove your castle piece and replace it with theirs. Cathedrals, by contrast, can be shared. Each one you place allows you to draw a mission card, which you can fulfil for extra points.
That’s pretty much the whole deal. Yet in Knizia’s trademark near-magical style, these easy rules blossom into a whole set of madly competing priorities from the very first placement. Castles are worth immediate points, but they have to be defended, and the missions cathedrals grant can be worth more in the long run, so getting them early gives you more control into the endgame. Is it worth more to capture a castle or cathedral over extending a run of tiles and getting bigger points? Are any of these more valuable than blocking an opponent’s run of tiles, or progressing a mission card instead? And let’s not even start on the relative merits of when and if to finish filling out a town.
All these competing priorities make the process of placing a single tile far more engaging and dynamic than it sounds. Most don’t have hard answers, and take experience and educated guesswork to muddle through, ensuring the game doesn’t get bogged down in analysis paralysis. And as things progress and placement options become more limited, the race for control of castles and to finish missions ensures that there’s no let-up in terms of tension as options dwindle. Well-timed and well-placed late tiles can be crucial in determining the overall victor.
At the same time, the fact you pull a random tile each turn gives more longevity than you might anticipate to playing over and over on the same map. Because of the chaotic tile order and the interactions between the players, no two games unfold in the same way. And, although the game does get more interesting – and slightly longer – as you add players, it’s still a lot of fun with two, though three players is a sweet spot. This is, however, where the simplicity of the base design begins to show some weakness. Once you’ve learned the ins and out of the Scotland map, the game does start to feel a little lightweight.
This, of course, is the ideal time to move to Ireland. The basic rules for castles and placement are the same, although there’s a bigger town and a lot of unmarked hexes where you can place either food or energy tiles as you prefer. Cathedrals have been replaced with towers, adjacency to which wins you a bonus depending on a random tile assigned to the tower such as a score bonus, or an immediate extra turn. The mission cards you earned from cathedrals are replaced with eight public cards which are all a race, giving top points to the first player to complete, and a more modest reward for those who manage it thereafter.
So: you still have all the same competing priorities you had to juggle when you were playing Scotland. But, on top of that, it dumps a whole load of additional stuff to consider from the very first turn: you’ve got an additional eight public missions, and six different tower effects. While it isn’t a big step up in terms of rules weight, it feels like a huge step up in terms of depth, especially for the first few games on the new board, when the sheer number of factors you need to consider when placing one tile can be almost crushing. It’s a very different kind of depth to the slowly snowballing web of actions and resources that characterize more complex strategy board games because it’s front-loaded, but it’s depth nevertheless.
It’s almost too much in terms of adding to the decision-making, especially for more casual players, but it’s inarguable that it’s an effective way to address concerns that the Scotland side of the board is too straightforward. However, it can weirdly reduce the sense of competition for board space that Scotland has. With so many other priorities, the uncertain rewards of blocking other players, or trying to steal their castles, tend to take a backseat. Over time, as you get used to all the competing demands, Ireland shows its own rewards as a slower, more reflective, but still very engaging version of the game.
