Pokémon Developer Game Freak Reportedly Hacked, Stolen Data on Unannounced Games as Well as Nintendo Switch 2 Codename Leaked Online

Pokémon developer Game Freak has reportedly suffered a significant hack resulting in the leak of stolen data that includes codenames for 10th generation Pokémon games and even the Nintendo Switch 2.

As reported by Nintendo Life, data leaked includes the codename of Nintendo’s next-gen console (reportedly “Ounce”), the codename of the unannounced 10th generation Pokémon game (reportedly “Gaia”), and the codename of the announced Pokemon Legends: Z-A (“Ikkaku”).

Neither Nintendo nor The Pokémon Company have issued a statement on the leaks. IGN has asked both for a comment.

The codenames for two versions of the 10th generation Pokémon game are part of the leak (“K” and “N”), which may relate to Nintendo’s intention to release it for both the Switch and its successor as a cross-gen title. According to Nintendo Life, “Ounce” is mentioned as the target platform.

A Pokémon game codenamed “Synapse” is also reportedly mentioned. This unannounced game is said to be co-developed with another studio, with some claiming it is some sort of Pokémon MMO.

Elsewhere, source code for DS titles Pokémon HeartGold, SoulSilver, Black 2, and White 2 have reportedly leaked, resulting in stolen unused assets for Pokémon and even game music emerging online.

This Pokémon leak rekindles memories of the infamous Nintendo ‘gigaleak’ of 2020, which revealed previously unknown canceled games, prototypes, source code, development tools, and internal communication as part of what was at the time the largest leak of internal video game information ever released.

Nintendo has yet to reveal its next-gen console, dubbed Switch 2 by the community ahead of an official announcement. Last month, alleged prototype images of the Switch successor emerged online. Nintendo has yet to comment on the images.

What we do have are developers saying they plan to release their upcoming games on the Switch 2. When Switch 2 does eventually come out, Nintendo expects to have plenty of stock available, which in turn will hopefully combat scalping.

As for Pokémon, Pokémon Legends: Z-A has a vague 2025 release window, with Nintendo saying it’s coming to “Nintendo Switch systems.” That phrase sparked speculation that Pokémon Legends: Z-A is also coming to Switch 2.

Fans are set for one of the longest breaks between major Pokémon releases in the franchise’s history. With no mainline entries releasing this year, nor any news of a remake, the Pokémon Trading Card Game on mobile will be the biggest series release in 2024.

Wesley is the UK News Editor for IGN. Find him on Twitter at @wyp100. You can reach Wesley at wesley_yinpoole@ign.com or confidentially at wyp100@proton.me.

Forgotten Gems: Shadow Complex

Forgotten Gems is a regular column about notable games that have moved out of the public eye and may not be easily accessible anymore. To see all the other games I’ve covered so far, check out the previous issues of Forgotten Gems in our Columns section.

Metroid-like games and their roguelike off-shoots are everywhere today. Not a week goes by without an indie game announcement promising “metroidvania” gameplay elements – and even Nintendo returned to making new Metroid titles after a near six year hiatus following Metroid: Other M in 2010. And that’s me being generous and counting Metroid Prime: Federation Force as a Metroid game…

But it wasn’t always so. After a Metroid renaissance in the early 2000s with Fusion, Prime, and Zero Mission (what a run!) exploring the series in both 2D and 3D, there was a clear shift away from these classic side-view explorative shooters. Konami stuck it out longer with the “vania” part of the equation and cranked out several quality 2D Castlevanias. But despite the critical success of many of these games, I think it’s fair to say that the genre was diminishing.

So it was with much excitement that I read on IGN back then that designer Donald Mustard and the ChAIR Entertainment team were planning to make a game based on Orson Scott Card’s dystopian novel, Empire. The two had previously collaborated on the underrated Advent Rising, and early coverage on IGN in 2006 – including whispers that it was going to be a bit of a love letter to Metroid – sounded promising.

When Metroidvanias Roamed the Earth

“The 2D Metroid and Zelda games were some of my favorite games of all time and to me represented the pinnacle of 2D game design, specifically when it comes to making a non-linear ‘onion layer’ world where exploration and discovery is the core design pillar,” Donald Mustard, former CCO, Epic Games and Co-Founder of ChAIR told me last week.

“…mostly, we had some awesome and innovative ideas and I just wanted to make it and play it.” – Donald Mustard

“Our team felt like the genre had been largely abandoned for over a decade, since the advent of 3D gaming, and we really missed playing them. We thought maybe other people missed them as well, or that even a whole new generation of gamers could discover them. I know it’s weird to consider now, but it was also a time when non-physical – aka digital – distribution was ‘just’ becoming viable and games were no longer limited to being put in a box on a store shelf at a cost of $60 or more. It felt like the possibility of what a game ‘had’ to be was ripe for disruption, and it was the perfect moment to try and do something unique. But mostly, we had some awesome and innovative ideas and I just wanted to make it and play it.”

Selecting a genre other than first-person shooter or RPG already meant swimming against the current, but releasing Shadow Complex as a digital exclusive in 2009 made it an even bigger wager. At the time, console gamers vocally defended their preference to buy physical media over digital downloads.

While it cut down on the publisher’s gamble with a non-franchise, niche game potentially gathering dust on store shelves, a digital-only release also risked alienating its potential core fanbase. Luckily, Shadow Complex made a great first showing. The polygonal, 2.5D presentation avoided the game looking like a relic of a bygone era. For ChAIR, going with polygons over sprites was all part of wanting to push the classic 2D Metroidvania formula as far as they could – and that included advanced lighting and effects.

Shadow Complex is at its core a side-scrolling action-adventure that’s heavy on exploration and platforming, but there are moments where it swings the camera around for third-person action sequences and lets players fire into the background. In a bit of serendipity, perhaps, that approach found its way into the very series that inspired Shadow Complex. The Team Ninja-developed Metroid: Other M similarly mixed 2D sequences with third-person perspective interaction – to its detriment, I’d argue in that case, as it was also tied to a clumsy control scheme.

Colonel Mustard, in the Lab, With the Foam Gun

One my favorite things about every new Zelda, Mario, or Metroid game is to discover what new powers the designers came up with. Being able to unlock, say, a magical vacuum cleaner, and then figuring out how to use it to solve puzzles is the sort of hook that has me coming back for more time and time again. I just 100-percented Zelda: Echoes of Wisdom this week – and while it didn’t quite live up to the peak combat and dungeon design of the best Zelda games past, it takes and runs with the “multi-use tool” concept in impressive ways. Whether it’s grabbing a water-based enemy to put out flames or building stairways out of beds, getting creative with objects that unlock exploration is half the fun in action-adventure games. Which brings me back to one example of why Shadow Complex stuck with me for so long: the Foam Gun.

Turns out, Mustard is also on Team Foam Gun: “I love the Foam Gun too! One of the things that most Metroid games have is a freeze mechanic you can use to freeze enemies in place. You can then use the frozen enemy as a platform to land on or jump off. We loved that mechanic and wanted to extend on the idea – what if you could use a ‘quick hardening Foam’ to ‘freeze’ an enemy or an object but then could stack Foam to build structures or walls or platforms, and then go further and add combinatorial effects like ‘what happens if I shoot foam onto something and then throw a grenade into it?’ We wanted to allow for more emergent and unexpected forms of gameplay. The more we prototyped and played with it, the more exciting it became, and the more we leaned into it as a core mechanic. That kind of philosophy and design heavily influences everything I’ve made since then.”

The Foam Gun wasn’t just fun to use. It also became an integral way to sequence-break Shadow Complex. At a runtime between five and 13 hours, according to HowLongtoBeat, the ability to create yourself your own platforms provided those who knew where to look a way to blaze through the game even faster. There is a moment in Metroid Fusion where the game sort of breaks the fourth wall to acknowledge when a player creatively “breaks” the game and gets to an area in record time. It’s a fascinating bit of meta commentary because it reminds players that for as smart and crafty as they think they are, the designers were actually one step ahead after all. They didn’t just figure out the same trick, they may have designed it in the first place.

“I love emergent gameplay, and rewarding players for trying to push the edges of what the game world or a game system can be. As we discovered crazy sequence-breaking opportunities, we decided to lean into them as opposed to ‘fixing them’ as much as possible,” Mustard told me when asked about the Foam Gun shortcuts. “We were very lucky to have Ken Lobb at Microsoft Games give us some incredible advice. It was great working with him. He was part of Nintendo when the original Metroid games were being made and shared some techniques they used to deliberately allow people to find ways to sequence break very very early into the game. It’s a design lesson I’ll never forget. Cough. Fortnite Rocket Riding. Cough. Cough.”

When Shadow Complex released in August of 2009, the reception was unanimously favorable. Not only did players love the game, it brought back fond memories of an increasingly underserved genre.

Naturally, ChAIR started work on a sequel. Mustard: “Finishing the game almost felt like ‘okay now we actually know how to make a game like this’ so now we can be much more ambitious with the next one. Our goal can be to really move the genre forward!”

Mobile Killed the Console Star

While not much is known about the actual project, designers at ChAIR and its parent company, Epic Games, acknowledge that they were working on a Shadow Complex sequel. As late as September 2011, Cliff Bleszinski (then Epic Games design director) commented that Shadow Complex 2 was “largely designed” and that Epic needed to find a partner to help finish the game and publish it. But sometimes, better – or perhaps, bigger – is the enemy of the good – and a pioneering mobile game hit led ChAIR into a new direction.

“We immediately began working on a sequel. Like with Shadow Complex, we designed the entire game map on paper first, then quickly stood it up in a very rough but completely playable form. We got pretty far into preproduction, and in my opinion, it probably would have been the best game I’ve ever made,” Mustard shared. “But… in late July of 2010 we had a very unique opportunity to partner with Apple to make the very first game ever using Unreal Engine on mobile devices. We decided to pause development on SC2 to investigate that opportunity and 4 1/2 months later released Infinity Blade on iOS.”

“Shadow Complex 2 probably would have been the best game I’ve ever made” – Donald Mustard

Infinity Blade blew up – in part because it showed core gamers that mobile games could be for them – and was quickly followed by a sequel. The two games grossed over $30 million at a time when established publishers and developers alike were still trying to figure out a “there” for them on Apple’s expanding mobile gaming marketplace. Infinity Blade III was unveiled in late 2013 and launched at the same time, complete with an Imagine Dragons song tie-in. It rocketed to #1 in the App Store within hours. But there was an even bigger distraction on the horizon that made a return to the world of Shadow Complex very unlikely.

Mustard says that creating Shadow Complex was one of the great joys of his life. The team’s goal was to see if they could make something that would live up to the games that inspired it – and then expand upon them and help bring something new to the genre.

“The right timing to return to Shadow Complex just never presented itself as we soon became very busy with what became Fortnite,” said Mustard.

I’ve Seen the Future and it Will Be

As for the future, Mustard left Epic in 2023 to join the Russo Brothers, the directors of Winter Soldier, Civil War, and Avengers Infinity War and Endgame, at multimedia studio AGBO. “I am very satisfied with the work I’ve done in games over the past 20+ years and for now I feel like I have done everything I wanted to do — with one possible exception,” he told me.

The good news for fans of metroidvanias – including Mustard who calls out this year’s Prince of Persia: The Lost Crown and Animal Well as new favorites (I agree!) – is that the genre is now clearly here to stay. Gone are the days of having to pick between the two flavors “sci-fi” and “gothic” bounty hunter or having to wonder if Metroid: Dread would ever see the light of day. We now have granddaddy Castlevania crossing back into the very roguelike spin-off it inspired in the first place, Dead Cells. We have forgotten Atari 2600 shooter Yars’ Revenge serving as the inspiration for a 2D metroidvania reboot in Yars Rising. And we even have the absolutely delightful shmuptroidvania Minishoot’ Adventures that basically crosses The Legend of Zelda with Galaga. If you want to play a metroidvania, you no longer have to dig in the past. I know, ironic – because that’s what this very column is about.

But I’m greedy, so I asked Donald Mustard if he would come back to work on a game like Shadow Complex – or if he was ready to deputize someone else out there who could carry on the legacy and continue the series.

“The opportunity to become a partner at AGBO with Joe and Anthony Russo and the absolutely incredible team that has assembled there is a dream come true for me. We are creating some truly incredible stories that will allow us to push storytelling further across different mediums. I can’t wait for people to experience some of these things,” he said.

“But that ‘possible exception’ I mentioned? If I was to ever direct another video game someday, it would absolutely be a game like Shadow Complex.”

“If I was to ever direct another video game someday, it would absolutely be a game like Shadow Complex.” – Donald Mustard

Where Can You Play it Now

Shadow Complex wasn’t entirely forgotten after ChAIR turned to Infinity Blade. The developer brought back a Remaster of Shadow Complex for an encore outing in 2015 for PC, with a console release on PlayStation 4 and Xbox One the following year.

If there is a silver lining in the story of a potential game series cut short, it’s that Shadow Complex is easy to track down – and it still holds up well in both editions. The Remaster is available for $15 on the Epic Games Store and Steam and the PlayStation and Xbox Stores. Annoyingly, the original Xbox 360 game sells for the same price. If you want to splurge, there’s even a small physical release of 7,500 PS4 copies of the Remastered version, courtesy of Limited Run, which unfortunuately now commands upwards of $100 on eBay. The remaster is definitely the version to play – and I highly recommend going back to it if you’re a fan of metroidvanias in general.

Peer Schneider heads up Game Help & Tools across IGN, Map Genie, Eurogamer, RockPaperShotgun, and VG247 and would love to fill a pool with metroidvanias and go swimming in it.

Persona Director Reveals the Secret to Atlus’ Beloved Games

Katsura Hashino knows exactly what he wants when it comes to video games. The legendary game director, who is responsible for the modern Persona games and more recently Metaphor: ReFantazio, believes that, in a world obsessed with pixel count and frame-rates, only one thing matters: the people who made it.

“I want something – even if it’s not complete, even if it’s really rough, even if it’s something really unfinished – to give me a glimpse of the humanity behind it. [I want to know] who created it and for it to give me a glimpse of the emotion that inspired it,” he explains.

It’s a philosophy that has served him well over the past 30 years and it’s one of the reasons the Persona games have such a devout following. Yes, the art direction is impeccable, as is the attention to detail, even down to the UI, but it’s the characters who populate this fantastical series that really make a difference. Chie, Junpei, Ann… They all feel like real people, with traits and emotions we can relate to, so much so they feel like old friends rather than characters from a video game. That’s entirely intentional and it’s what drives Hashino to make games – a personal approach that runs counter to some of the bigger projects out there that are required to meet the expectations of both fans and company shareholders alike.

I want something – even if it’s not complete, even if it’s really rough, even if it’s something really unfinished – to give me a glimpse of the humanity behind it.

Hashino is a longtime director at Atlus, having worked on several of the company’s Shin Megami Tensei games, the much-loved RPG series that merges the occult with more grounded settings. In a world dominated by ‘traditional’ Japanese RPGs like Final Fantasy and Dragon Quest, they’re a sort of goth alternative that has steadily grown in popularity over the years.

He took over the Persona series starting with Persona 3, following the departure of the previous Persona director Kouji Okada. Hashino brought over some of the darker themes from Shin Megami Tensei and mixed them with Persona’s more stylish pop vibe, resulting in a vibrant anime-influenced aesthetic, set against a high school backdrop that grappled with mythic ideas like gods and demons, as well as psychology. It’s a series that has established Hashino as one of gaming’s most respected directors. On the eve of his latest game, Metaphor: ReFantazio, IGN sat down with Hashino to look back at his past work and what drives him to make games.

Persona 3 catapulted the series into mass popularity and coincided with a renewed interest in anime in North America. However, despite its cartoon visuals there’s a lot of depth to the game and, importantly, the characters, as Hashino explains: “I think the gap between the kind of realism of the characters themselves and the anime aesthetic is a really interesting and important part of the game. You might first look and see these very anime-style characters and this anime-style world, but then might be surprised and interested to see there’s a very real [world] underpinning to them. Looking beyond the anime and seeing the realism is really a wonderful part of our games.”

I feel like if you have these super highly polished games that look like they were designed by a bunch of people in a CEO boardroom, that doesn’t really excited me

This realism – the effort Hashino and his team goes to, to ensure every character feels real – is what drives every decision in the design process, from broad ideas to specific dialogue, as Hasino explains: “There’s this little girl named Nanako [in Persona 4] who’s in elementary school. When we were first writing her dialogue, we wrote [it] to be really, really cute. But then we took a step back and thought, ‘Wait a minute, all of her lines are so cute and they’re so well done that it doesn’t feel like any actual human girl would [talk like that] at that age’. It just felt like too much.”

Rather than lean into the fact Nanako is a video game character and thus might have dialogue that doesn’t sound truly authentic, Hashino and his team went back to the writers’ room. “We started cutting back on those overly cutesy dialogues and tried to root it in reality instead. So even though Persona 4 is a modern fantasy game, we wanted it to feel closer to something that could be happening next door to you.”

One thing that becomes clear when speaking with Hashino is the love he has for the well-being of the characters in his games. When discussing his favorite moment in Persona 5, he tells us it’s when the cast of characters are able to hang out in the retro-style cafe in Shibuya that the Phantom Thieves make their hideout.

“In Persona 5, a lot of the characters don’t really have a place where they feel safe,” Hashino explains. “So I wanted to find a place where they can go and just really have that sense of security. And in Shibuya [a neighborhood in Tokyo] it’s really hard to find that location. There’s lots of roads, lots of corridors, but there’s not really a place where [you think], ‘Okay, you guys can just sit here and chill out and just use it as your base’. Finding a place [where] they’d be welcome is really difficult. So for the characters in Persona 5, I was trying to give them a place where they would be welcome. That’s when I came up with the idea of what we call in Japan a junkissa, which is an old-style cafe.”

Unsurprisingly, Hashino’s love for the characters he creates is something that’s echoed by fans, and even though Metaphor: ReFantazio steps away from the familiar Persona setting – it’s set in a new, fantasy world rather than Tokyo – it has a lot in common with the games he’s made before. Similarly, the characters you’ll meet in Metaphor, despite being different from the Phantom Thieves we’re familiar with, are faced with many of the same emotional pressures such as prejudice, fear, and anxiety.

“Metaphor is a game where the characters are around teenage age, but they’re not facing [traditional] teenager problems,” Hashino says, inferring that the characters you meet will struggle with a lot more than typical teen drama like peer pressure and romance. “They’re facing anxiety and all these other big things that affect everybody, no matter who they are, where they are, or how old they are.” So while Metaphor: ReFantazio presents a new world with new characters, many of its themes can be found in Hashino’s other games.

Indeed, whether it’s Persona, Shin Megami Tensei or Metaphor, getting under the skin of each character is core to the experience. It’s something Hashino believes comes from the people who make the games, and that he prefers projects in which you can see a developer’s true self: “I feel like if you have these super highly polished games that look like they were designed by a bunch of people in a CEO boardroom, that doesn’t really excited me — it doesn’t really interest me”, he admits, bluntly. “But when I see these sorts of games [which reveal a little about the people that made them], it really fills me with the motivation to keep developing,” he says. “That these artists, these creatives, had something they really wanted to say is where I get all of my inspiration from, and the drive to continue to be creative myself.”

Matt Kim is IGN’s Senior Features Editor. You can reach him @lawoftd.

Fortnite’s 2024 Halloween Event Arrives Today, Features Outfits from Saw, Texas Chainsaw Massacre

Fortnitemares 2024, Fortnite’s annual Halloween event, goes live today and will feature the return of Horde Rush, a pile of fresh quests and rewards, and a host of recognisable, horror-themed outfits hitting the Shop.

Horde Rush will be available for the duration of this year’s event, and players will be able to complete Horde Rush quests and Rocket Racing Nitemares quests for XP that will grant a variety of rewards.

Fornitemares 2024 also arrives with a new chainsaw weapon dubbed the Boom Billy, which can be used to carve through enemies (or thrust into the ground and revved to drag your character forward at “frightening speeds”). In addition to this, the Wood Stake Shotgun, Pumpkin Launcher, and Witch Broom are all returning for this year’s event.

New outfits include Billy the Puppet from Saw, Leatherface from The Texas Chainsaw Massacre, Pumpkin King and Sally from The Nightmare Before Christmas, Marvel’s Mephisto, She-Venom, and Agony, plus Cruella de Vil, Maleficent, Captain Hook, Ravemello, and Edward Scissorhands. There will be an opportunity to unlock the She-Venom and Agony outfits before they arrive in the Shop for players who take part in the Symbiote Cup.

Fortnitemares 2024, which will run until the end of Chapter 5, Season 4, is just the latest salvo of content in Fornite’s quest to absorb and homogenize all pop culture on the planet. Fortnite announcements in the past… fortnight alone include a new Fast & Furious vehicle and the arrival of… Shaquille O’Neal.

For what it’s worth, Fornite has also just introduced new time limit controls which will reportedly allow parents to cap the amount of time their kids play the game each day.

Luke is a Senior Editor on the IGN reviews team. You can chat to him on Twitter @MrLukeReilly, but not about Fortnite.

Dragon Ball: Sparking! Zero Review

A lot has changed about both video games and the way we play them since the last mainline entry in the Dragon Ball Z: Budokai Tenkaichi series. As the first direct sequel since the PlayStation 2 generation, that means there’s something charming about Dragon Ball: Sparking! Zero’s old school design and presentation compared to other fighting games on the market today. It’s tougher than Vegeta’s chest plate, and imbalanced in ways that are both annoying and lore accurate. Menus are labyrinthine, training tips are sparse and sometimes not very useful. But every battle is crafted with the sole purpose of putting the Dragon Ball fighting fantasy as it appears in the anime into our hands. The fast paced ki slinging, teleport kicking, and magical hair dying is great fun (when it’s not marred by responsiveness issues). The few areas Sparking! Zero does truly try to innovate, primarily with its branching story mode and create-your-own battles toolkit, are promising too. But playing this brawler can sometimes feel just as much like a labor of love as the effort to resurrect the series in the first place.

Arena fighters don’t have a lot in common with their traditional cousins like Tekken or Street Fighter. Instead of the fight taking place on a horizontal plane, they pair full 3D movement in largely open spaces with slimmed down movelists, trading technical complexity for spatial tactics. Tenkaichi further distanced itself from other games in its genre like Power Stone by turning up the speed, replacing throwable objects with big environmental features that can be blown up, and creating huge empty skies for wide open air combat. Other Dragon Ball games like the Xenoverse series have picked up the mantle of this particular form of arena brawling, but while both it and Tenkaichi capture the energy of Dragon Ball media – from how quickly characters can move the fight from air to ground, melee to ranged, and back again in these big beautiful spaces – the latter was always the more all-out experience without stamina bars and with tons of flair. Sparking! Zero certainly carries on that tradition.

At least in still frames, it’s undeniable how great characters and environments look. Every character, no matter what era of Dragon Ball they’re from, looks better than I remembered. In motion, things are a bit more dicey, with some cutscene animations in particular being awkwardly stiff. On the whole, the sound hits the mark as well. The raucous blasts of ki explosions and booming whooshes of Z Fighters flying at high speeds are ripped straight off of the screens of old TV episodes. Most of the iconic voices of the various series are recreated pitch perfectly by their original voice actors, too, which is an important detail to get right. (Although, in limited cases like Perfect Cell, even a returning cast member can make a change in line delivery that had me frantically googling to confirm that my memory hadn’t been punched into a cliffside by old age.)

Another win for my inner child was the truly immense roster. More than 180 fighters pulled from every nook and cranny of the series are playable, many needing to be unlocked first via the shop or story modes. There are so many folks on this roster from shows or movies I haven’t watched in ages (or in some cases, at all) that I had to wonder why the very few that didn’t make the cut got snubbed. Many of these characters are repeated in some fashion – there are 19 versions of Goku, for example – but they aren’t all simply reskins. They can have different special techniques and transformation trees, meaning base level Goku from the Saiyan invasion days has a different set of moves and much lower upside than Buu Saga or Super-era Goku, who can transform into various technicolor versions of Super Saiyan. These abilities can’t be changed, but I could modify each warrior with ability items that boost things like attack power and health, though I barely noticed any benefit at all when doing so.

Canonically strong opponents can be just as oppressive as you’d expect.

The controls are universal for all characters, but some on the roster interact with the standard systems slightly differently than others, which is an appreciated layer of nuance. For example, Android characters can’t actively regain their ki in order to launch blast attacks, while gigantic characters like Janemba can’t be grabbed. Sparking! Zero makes no attempt to balance these differences, either; every time I was forced to fight a character that was canonically stronger than mine in the manga or anime, they were just as oppressive in-game as I’d expect. I didn’t always like that, but I respect the commitment.

Unfortunately, the bar to execute the varied techniques of its diverse cast is very high and extremely frustrating. Inputs are simple overall, but early on I often felt lost when combat picked up the pace. Part of that is admittedly on me – the last entry of this series I played with fervor, but that was right after Barack Obama was elected. The fast pace of Sparking! Zero compared to Tenkaichi 3 mixed with a lax tutorial system threw my 17-years-older reaction speed out of the ring with ease. But even beyond that, things like the timing on nailing teleporting defenses or the various applications of some of the directional rush combo enders had me praying to Shenron for mercy.

I’ve spent a lot of time traveling back and forth between regular fights and the training mode to check and double check my understanding of when and how to use these techniques, but it hasn’t really helped me execute them consistently in battle. Also, compared to modern day fighting games, Sparking! Zero’s training options are rudimentary at best. There’s no expectation to layout frame data and hitboxes in a less competitively-focused game like this, but targeted drills or a more nuanced customization of CPU behaviors would go a long way to help beginners and returning players fly up to the high skill floor.

The skill points system is at least a welcome tool to your combat belt. As you do damage and gain energy, a meter will charge that grants a skill point every time it fills. There’s a handful of ways to spend these points, the most common being on the unique skills each brawler has – that could be an ability that fully charges the ki meter for Vegito or Yajirobe’s health restoring Senzu Beans. But points also need to be spent carefully on transformations and the new revenge counter system, which let me satisfyingly counterpunch foes while in the middle of a combo against me. An enhanced version of the perception counter from older games, called “super perception” here, allows you to block just about every kind of attack so long as you time it well and have a skill point to spend, too. The window for execution is razor thin and can be a bear to learn, but these are life saving options – and like ki, which is also used for a variety of offensive and defensive maneuvers, the resource management decisions you have to make on a moment-to-moment basis really add a welcome bit of strategy to an otherwise frantic fighter.

There is definitely an old school approach to a lot of the progression and menus.

There is definitely an old school approach to a lot of the progression systems and menus of Sparking! Zero. There’s a long list of achievements that can be checked off organically just by playing, which usually grant in-game currency called Zeni, items, or other light cosmetics. Just about everything can be bought with Zeni – from new characters to costumes to soundtracks and even CPU attack behaviors – and you get this cash at a healthy rate that never felt like I was being pressured to spend real money for any of it. There are microtransactions, like a $35 season pass covering three packs of characters, and two $15 music packs, but I didn’t see any option to buy them without leaving the action and going to the storefront directly, a rarity in 2024.

On the flip side, so many of the menus are a hassle to navigate, often taking you all the way back to the top layer instead of letting you go back one screen at a time. For example, you can customize characters’ abilities and costumes to be used in all modes, but those modes don’t have paths to the customization screen within them, so you have to exit one completely and go the long way to make adjustments. This was barely acceptable in 2005, and we certainly don’t have to live like this anymore.

The flagship single-player mode is called Episode Battles, which is a truncated retelling of the biggest Dragon Ball stories from various characters’ perspectives. Just about every Dragon Ball game has done this in some form or fashion, but this rather exhaustive version does a good job at keeping time between battles short, and prioritizing the important moments versus making you play every single skirmish (as Tenkaichi 3 did).

The standout feature this time around, though, is that certain events can actually be cleverly changed for sometimes dramatic new outcomes. That could involve making a choice during a cutscene, like I did when I decided to have Goku help Piccolo against Cell instead of waiting for Vegeta and Trunks to complete their training, which is the opposite of what went down in the TV show years ago. That lets you prevent the Cell Games from ever occurring, providing a cool glimpse at a “what if?” future where the androids live in peace with Goku and his allies.

I appreciated the effort to spice up stories that have been rehashed ad nauseam.

This clear choice is way easier to execute than the other, more frequent method you are given for an opportunity to alter events, which usually involves winning battles in specific ways to change their outcomes. Besides the fact that, and I must reiterate, these fights can be very difficult since powerful characters can become all but immune to your normal attacks and will always have the perfect defense to match your offense, it’s unclear upfront what conditions must be met to unlock these alternative stories. You can lower the difficulty on a fight-by-fight basis in order to progress if you really need to, but these special tasks must be completed on the standard difficulty, making finding them very much an endgame activity. But I did really appreciate the effort to spice up stories that have been rehashed ad nauseam.

There are also custom battles, which exist somewhere between Mario Maker and the Universe Mode in a WWE game. Using a tool box full of special modifiers that limit what characters can and can’t do in a given scenario, as well as some triggers that help program particular outcomes after conditions are met, these battles can potentially resemble more of a puzzle than just mashing digital action figures together in dream situations. There’s a shoddy system for putting together dialogue so that some sort of narrative can be added to them, but the best it can do is loosely set up the make-believe stakes. I had no plans to write my own entire Dragon Ball arc, but I’m not sure the tool is up to the task even if I wanted to.

There are quite a few custom battles made by developer Spike Chunsoft baked in, and they don’t really stretch the imagination that much. A few of them present interesting scenarios and specific parameters for victory, like seeing Kid Goku spar with a Master Roshi who can only be beaten by the kamehameha. But I haven’t come across an “a-ha!” creation that really shows me the potential for this mode yet.

Sparking! Zero at least seems to break the Tenkaichi curse of truly abysmal online multiplayer by supplying some solid network play. When wired up, I found minimal latency and lag issues on the live servers, or at least not enough to blame it for me dropping a combo or missing a parry. There is a local split-screen option for people who want to duke it out in person, but it’s disappointingly limited to one stage: the white void of the Hyperbolic Time Chamber. Even still, playing Sparking! Zero with real people that you can hit with a dramatic one liner or a guttural power-up scream is still the best way to do it, by far.

Online modes are pretty straight forward, but the DP battle stands out as the most interesting way to play. It constricts your up-to-five-member teams by assigning a point value to every member of the roster, giving you 15 points maximum to split between them. Stronger characters are more expensive, so you could keep your team small and full of high-cost heavy hitters like the Kais or furry SSJ4 Saiyans, or hope a full host of cheaper characters like Krillin and Yamcha can overwhelm the opponent. I liked starting with a character’s cheaper base form, knowing that with decent play I would be able to transform them into the stronger forms over time, the early discount coming at the risk of getting beat down before I can get my power up to speed. That extra angle of strategy is something that takes good advantage of the untuned nature of a lot of these characters, and really doesn’t exist anywhere else in the genre.

Everything We Know About Ghost of Yotei

Sucker Punch’s Ghost of Tsushima was released in 2020 and introduced players to the world of samurai and stealth in the 13th Century and after four long years, PlayStation has finally announced a sequel, Ghost of Yotei. Featuring a female protagonist, a new mountainous landscape to traverse, and all set in a new time period 300 years after the events of the first game.

Jump to:

Ghost of Yotei will be released in 2025 on PlayStation 5

The exact release date is still unknown, but Sony has confirmed that Ghost of Yotei will arrive on PlayStation in 2025. Sony tends to favor fall release windows – see God of War, The Last of Us 2, Spider-Man: Miles Morales – and it wouldn’t be a shock for Ghost of Yotei to follow the same pattern. Expect the game to be a PlayStation 5 exclusive at first, but as with big Sony titles like God of War Ragnarok and Horizon Zero Dawn, it will almost certainly get a PC release at some point in the future too.

Ghost of Yotei has a new protagonist

The Ghost of Tsushima sequel will start a new origin story with Atsu, a young woman seeking revenge. Details on her story are few and far between, but the trailer did reveal some interesting clues about the newest warrior to take on the mask of The Ghost.

For a start, Atsu can dual-wield katana, a talent that was never available to Jin Sakai in the first game. It could suggest that Atsu might prefer the direct approach to the stealthy methods that Jin could use to avoid and assassinate enemies. For all you accuracy fans out there, this detail actually lines up with historical records that suggest dual wielding wasn’t a common practice in Japan during the time period in which Jin lived, but in Atsu’s 17th-century world, the swordsman Miyamoto Musashi created the “two heavens as one” niten’ichi technique with two blades.

While some fans reacted with surprise at the gender of Ghost of Yotei’s new samurai, female warriors called Onna-musha appeared in Japanese history as early as 1180. You can read more about on how Ghost of Yotei gets history right here.

There’s a new setting for Ghost of Yotei

The name gives away the new setting for the game, but for those of us that skipped a few geography classes Yotei refers to Mount Yotei – translated somewhat unglamorously as “sheep-hoof mountain” – a volcano located in northern Japan. Specifically on Hokkaido, the second-biggest Japanese island, which would have been called Ezo in Atsu’s time.

“When we started working on a sequel, the first question we asked ourselves is ‘What is the DNA of a Ghost game?’” Creative Director Nate Fox told The New York Times. “It is about transporting the player to the romance and beauty of feudal Japan.” The Sucker Punch team visited a number of locations in Japan for research, including Shiretoko National Park where Fax made recordings of the ambient sounds to take back to the studio.

“Inside the park, you have to watch a video telling you about the dangers of bears,” Fox said. “Being in this incredibly beautiful park with jagged cliffs and water, yet all the time being aware there were dangerous bears, was electrifying. We strive to bring that into the video game — that feeling of danger.”

Ghost of Yotei is set in 1603, according to the PlayStation Blog. That’s 300 years after the events of Ghost of Tsushima and a period when Ezo was home to the indigenous Ainu people and still outside the control of Japan. Perhaps not coincidentally, 1603 is marked the Tokugawa shogunate becoming the government of Japan after the Battle of Sekigahara.

Ghost of Yotei is Sucker Punch’s first game built completely for PS5

Ghost of Tsushima was notable for the way its incredible landscapes looked and felt as you explored the island, and it sounds as if we can expect the same from Ghost of Yotei.

“This is also Sucker Punch’s first game built from the ground up for PlayStation 5, and we’re excited to build on the visual foundation we established in Ghost of Tsushima by making the world feel even more real,” said Andrew Goldfarb, Senior Communications Manager at Sucker Punch Productions in a blog post.

“We have massive sightlines that let you look far across the environment, whole new skies featuring twinkling stars and auroras, even more believable movement from wind on grass and vegetation, and more improvements we’ll share in the future. Our new setting also gives us the opportunity to introduce new mechanics, gameplay improvements, and even new weapons.”

Rachel Weber is IGN’s Managing Editor.

The Slim TSA-Approved Baseus Blade 20,000mAh 100W Power Bank Is Down to $49.79

Right now, Amazon is offering Amazon Prime members this Baseus Blade 20,000mAh 100W USB power bank for only $49.79 after you clip a 10% off coupon and also apply promo code “SGH4BTPY” during checkout. This TSA-approved portable battery features a generous 20,000mAH capacity and a powerful 100W charging rate with Power Delivery 3.0 and PPS. It’s the perfect backup for a Steam Deck or Asus ROG Ally. Baseus hasn’t been long around enough to develop the same reputation as Anker, but its power banks have been steadily racking up favorable reviews and recommendations. They’re also a lot less expensive than a comparable Anker power bank.

Baseus Blade 20,000mAh 100W Power Bank for $49.79

Amazon Prime member exclusive

The Baseus Blade features a slim and lightweight form factor that measures only 0.7 inches thin and weighs in at 17 ounces. It has four ports: two USB Type-C ports and two USB Type-A ports. The USB Type-C ports deliver a combined total of 100W of power output (charging your devices) and 65W of power input (charging your power bank). The USB Type-A ports deliver up to 18W. The power bank can be brought onto airplaines since it is well below TSA’s 27,000mAh threshold. Despite the thin profile, the Baseus Blade is able to pack in a digital readout that displays a lot of useful real-time information like remaining battery capacity, power input, and power output from each port.

The Baseus Blade can fast charge a Steam Deck or ROG Ally

This is a great charger for gaming handhelds like the Steam Deck, ROG Ally, and Switch. Both the ROG Ally and Steam Deck suffer from a short battery life when gaming on the go. During our Steam Deck review, we found games like God of War or Spider-Man would tap out in under two hours. At the end of the day, you’ll never get the full potential out of your Steam Deck or ROG Ally if you’re not equipped with a decent portable charger. The Baseus Blade can fast charge all three at their maximum rate. It supports up to 100W of charging over USB-C, which is more than enough for the Steam Deck’s charging rate of 38W, the Rog Ally’s charging rate of 65W, and the Nintendo Switch’s charging rate of 18W.

The Baseus Blade can fully charge a Steam Deck or ROG Ally

The ROG Ally and Steam Deck both consume about 40Whr going from full to empty. The Baseus Blade has a 20,000mAh capacity or 74Whr battery. If you factor in 80% power efficiency, then you should expect the Baseus Blade to charge either gaming handheld about 1.5 times. That’s why it’s better to get a larger capacity like this than a 10,000mAh power bank, which cannot charge these handhelds from empty to full even once.

Looking for more deals?

This is easily one of the best Steam Deck deals and Nintendo Switch deals available right now, and absolutely worth considering if you find yourself short on power all too often. If you want to compare other options before making the plunge, check out the best power banks of 2024.

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.

Smash Bros. Creator Sakurai Offers Heartbreaking Tribute to Late Nintendo President Iwata as He Winds Down Popular YouTube Channel

In one of his final videos as part of the “Masahiro Sakurai on Creating Games” YouTube series, Smash Bros. Masahiro creator offered a touching tribute to his friend and former boss Satoru Iwata, who served as Nintendo president from 2002 until his death in 2015.

“It wouldn’t be right to end this channel without touching on this topic,” Sakurai wrote on X/Twitter.

Sakurai, who opened the channel to talk about his experiences developing games, worked with Iwata at HAL Laboratory before the latter moved to Nintendo in 2000 as the head of corporate planning. Sakurai shares several touching memories over the course of the 10 minute video, including their first job interview, how Iwata helped come up with the title of Super Smash Bros., and the last time they saw one another.

While Iwata’s management role typically kept him far away from development, he nevertheless played a key role in Smash Bros. Melee’s development by contributing his expertise as a programmer and solving numerous bugs. Sakurai also remembers how Iwata came up with the “brothers” part of Super Smash Bros., which was meant to convey that the characters weren’t actually fighting, but friends solving a little disagreement.

Mr. Iwata was truly the person who understood me best

Sakurai goes on to recall his shock at Iwata succeeding Hiroshi Yamauchi as Nintendo president, calling it “frankly unimaginable” that a comparative outsider should take over what had been a family-owned business for generations after just two years with the company. Nevertheless, he said, Iwata proved to be a major force at Nintendo, contributing numerous ideas such as the Iwata Asks series, the concept of the Nintendo Direct, and more.

Sakurai finishes by remembering their final drive together, and how they had planned to meet again later that year before Iwata suddenly passed away in July.

“Mr. Iwata was truly the person who understood me best,” Sakurai said. “He was full of virtue, relentlessly hardworking, committed to service, and a man who changed the games industry. If I hadn’t met Mr. Iwata at the start of my career, I’d probably be off doing something completely different.”

Iwata’s influence continues to be felt in games even now, close to a decade after his death. Just this week, Nintendo released Alarmo, an idea that was near and dear to Iwata’s heart. An Echoes of Wisdom easter egg also seemingly paid tribute to his friendship with former Nintendo of America president Reggie Fils-Aimé,

Sakurai’s tribute to Iwata is one of his final videos as he winds down his YouTube channel, which started in 2022 and has 589,000 subscribers. He says that he continues to make games for the time being, but his next project is currently unknown.

Kat Bailey is IGN’s News Director as well as co-host of Nintendo Voice Chat. Have a tip? Send her a DM at @the_katbot.

IGN UK Podcast 769: They Pasteurise Mayonnaise, Don’t They?

Cardy, Jesse and Mat celebrate one of the best games of the year, one of the best shows of the year, and one of the most disapointing second episodes of an anime ever made in this latest podcast. We’re chatting Metaphor ReFantazio, It’s What’s Inside, Uzumaki, Industry and finding a little extra time with Nintendo’s Alarmo.

Remember to send us your thoughts about all the new games, TV shows, and films you’re enjoying or looking forward to: ign_ukfeedback@ign.com.

IGN UK Podcast 769: They Pasteurise Mayonnaise, Don’t They?

Three Tomb Raider Games From an Awkward Time in Lara Croft’s History Are the Next to be Remastered

Three more Tomb Raider games are getting remastered courtesy of Crystal Dynamics and Aspyr, bringing fans back to the time when the hallowed series was starting to be considered a little long in the tooth.

The Tomb Raider IV-IV Remastered features updated version of Tomb Raider: The Last Revelation, Tomb Raider: Chronicles, and Tomb Raider: The Angel of Darkness. The first two were originally released for the PlayStation 1 and Dreamcast, while the third one came out on PlayStation 2. All three are considered lesser entries by many fans, with Angel of Darkness in particular being known for being buggy and unfinished.

Here are the official descriptions of all three games.

Tomb Raider: The Last Revelation (1999)

Lara Croft uncovers the lost tomb of the Egyptian God Set, unwittingly unleashing him and fulfilling an ancient prophecy—one that plunges mankind into darkness. Pursued at every turn by her arch-rival, the unscrupulous archaeologist Werner Von Croy, Lara embarks on a journeyof discovery across Egypt, where she must overcome the most ingenious puzzles and infernal traps ever devised while facing terrifying evil from beyond the grave.

Tomb Raider: Chronicles (2000)

Following the events of The Last Revelation, Lara Croft is buried in an Egyptian tomb and presumed dead. At her memorial, those closest to her reminisce about secrets from her past. Travel back and experience Lara’s untold adventures, introducing new gameplay mechanics like stealth and tightrope balancing!

Tomb Raider: The Angel of Darkness (2003)

Accused of murder, Lara becomes a fugitive on the run, uncovering a sinister conspiracy involving alchemical experiments and the search for ancient artifacts. It’s up to Lara to stop this unholy alliance from unleashing its incredible powers on the world.

Aspyr’s collection will seek to spruce all of these games up a bit with improved visuals, modern control options, trophies, achievements, and of course, a Photo Mode. They follow in the footsteps of the Tomb Raider I – III Remastered Collection released earlier this year, which were developed in part by a fan who had previously been working on remakes of the original games.

We wrote in our tech review, “The very small and largely independent team that built Tomb Raider I-III Remastered have clear passion and skills for the legacy of Lara Croft. The enhancements offered are great and much better than, for example, the recent Konami Metal Gear Solid Collection. High frame rates, dual new and old modes, all of the expansion packs, improved graphics and controls alongside fast swapping across all 3 titles and DLC from the main menu are welcome.”

In the midst of announcing the remaster, Crystal Dynamics also revealed that Tomb Raider has hit a notable milestone, having officially sold 100 million units over its lifetime. An official statement celebrating the accomplishment said, “We’re so honored to share a huge milestone for Tomb Raider – we have officially reached over 100 million games sold across the franchise! This is a momentous accomplishment that few video game franchises ever achieve.”

We owe our thanks to you, the fans, as well as to all the passionate developers and artists whose talent and imagination have given us so many stories and experiences to share together for nearly three decades. We’re extremely grateful for the Tomb Raider community’s collective spirit of adventure, and we look forward to all the journeys still to come as Lara Croft and Tomb Raider continue to reach new heights.”

Tomb Raider I – III Remastered was released on February 14, 2024, and Tomb Raider IV – VI Remastered will follow exactly one year later on February 14, 2025 for PlayStation, Xbox, PC, and Nintendo Switch. It will be available for $29.99.

Kat Bailey is IGN’s News Director as well as co-host of Nintendo Voice Chat. Have a tip? Send her a DM at @the_katbot.