Amazon Prime Day was the longest it's ever been this year, but if you still managed to miss the sale entirely there's still some chances to save. In fact, the sale that seemed to have won Prime Day this year has shown no signs of slowing down at all. Amazon's buy 2, get 1 free sale on movies, books, and vinyl records is raging on after the final hours of Prime Day 2025.

I've been covering Prime Day sales for years and this is the first time I can remember this type of promotion overlapping with the actual sales event days. And despite some actually incredible deals on things like Apple devices and TVs, it was this promotion on physical media that was overall the most popular sale for our audience. I don't know how much longer this promo will be running, but if you're looking to start or add to your physical media collection, it's worth checking this out.

What's Included in the Buy 2, Get 1 Free Sale?

We've rounded up the best deals for Saturday, July 12, below, so don't miss out on these limited-time offers.

Apple AirPods Pro 2 for $149

Stephen King is no stranger to unhappy adaptations, and MGM+’s The Institute is merely the latest to lose most of the author’s defining nuance and heart in the move from page to screen. His knack for capturing hope amidst ungodly challenges is nowhere to be found; neither is his way of depicting the peculiar spark that comes from being on the precipice of growing up in a world that cares too little for your feelings. But you can feel the bones there. The man loves underpinning his tales with earnestness, and, of course, has long been interested in supernaturally powerful children like Luke Ellis (Joe Freeman) and his fellow prisoners at the show’s titular facility for unusually gifted kids.

But this translation of King’s 2019 novel wants to quickly manufacture atmosphere rather than allowing it to build naturally. There’s no sense of dread or foreboding in the early episodes; everything seems fairly self-explanatory. There’s not much novelty in a story about kids with powers being enlisted by a shadowy organization, either (even one that purports to be doing its part for the greater good), and the plodding pace of The Institute gives viewers little more to chew on.

Alongside the precocious and perceptive Luke and his peers, we get a sense of higher-up shenanigans through The Institute’s head honcho, Mrs. Sigsby (Mary Louise Parker), and Tim Jamieson (Ben Barnes), a former cop with a heart of gold who finds himself trying to get to the bottom of what exactly is happening up at The Institute. But none of these plotlines ever get to spend enough time with the characters to make their conundrums seem compelling. When watching Tim forge connections with prickly town citizens feels more gripping than watching him unravel a mystery, it’s a problem.

And not just because it’s built on a story by King, a writer so adept at gripping readers with foreboding heft in both style and substance. Instead, it feels like The Institute is consistently dodging the interesting parts of its own story. When Luke arrives, Mrs. Sigsby attempts to buck him up by saying that he and his fellow kids shouldn’t be called “kids” because they’re “working an adult job” and may as well be grown ups. It’s a small detail but a potentially telling one – except The Institute doesn’t invest in the mindset all that much.

That choice becomes a tell for how it handles the reveal of what these kids are being used for. Again: there’s no real surprises as to why they’re being imprisoned and experimented on – you’ve seen one show about kids who can move things with their minds, you’ve seen them all. And the choice to draw out any reveals and then blow past their consequences doesn’t read as confidence in the greater story and its emotional bedrock. The Institute can’t quite make a case for itself on either end. In the beginning, it’s all set up where finer points can’t be discussed in detail; with the final episodes, it’s all action-packed resolution with no time to slow down.

The result is just the most boring version of itself, a show that wants us so badly to care about these kids and their strife it forgets to give them a reason to do so. By the time a character, completely out of nowhere, says he might need “to use an unjustly vilified phrase, a ‘final solution’,” it’s over. Whatever greater world the show is trying to build can't account for the lack of care for details or characterization that leads to “Nazi sympathizer surprise.”

Perhaps it’s that King’s literary structure doesn’t lend itself well to a backloaded TV adaptation. His books are studied, deliberately building towards a point with things that got peppered in along the way so he can really drive everything home all at once. Sometimes it’s a final straw driving a man insane, and other times it’s a surprise orgy, but his final acts have a knack for flowing out of everything he’s built even as he twists it just one more time. There’s nothing like that in MGM+’s The Institute; it crawls its way through its story just so it can limp across the finish line.

This piece contains spoilers for Superman (2025) and Supergirl: Woman of Tomorrow (2021)

Ever since the "Gods and Monsters" slate was announced by James Gunn and his co-CEO at DC Studios, Peter Safran, one thing has been clear: Kryptonians are at the center of the new DCU. With Superman finally hitting screens, we've gotten to meet David Corenswet's delightfully pure Clark Kent who will clearly be the beating heart of the new franchise. Just like him, the film is colorful, kind, and filled with compassion. It's a perfect Superman and establishes a wide and expansive new DCU with centuries of characters, adventures, and villains to dig into. But as the film comes to an end we get an unexpected guest, one who will be key to the future of the franchise.

See, it turns out that Clark is not the only one who survived the death of the planet he once called home. And as we learn in the final moments of the movie, Clark has another relative and we get to meet her in unforgettable style before she headlines the upcoming Supergirl film.

Introducing Milly Alcock’s Supergirl

In an actually shocking, not leaked, and very fun introduction we get our first on screen glimpse of the DCU's Supergirl. As Clark returns to the Fortress of Solitude to heal, Kara Zor-El crash lands into Kal-El's hideout looking for her pet dog Krypto. That's right, this is the foster situation that Superman alluded to earlier in the film. He's been babysitting the iconic Super Pet for his cousin who has been out partying on other planets where she can actually get wasted — more on that later. But her introduction may have thrown off fans of the sweet-hearted baby-faced Kryptonian from the comics or the popular CW Arrowverse, seeing as this Kara is... a little different.

As you may have guessed from the fact she loves drinking and she crash landed, this isn't the innocent, sweet, and often well behaved Kara that most of us know. Instead she swears, stumbles, and even calls Clark a bitch while sarcastically thanking him for dogsitting. As Superman Robot 4 A.K.A. Gary (Alan Tudyk) and Superman discuss her clearly unhealthy lifestyle as well as her rough and tumble relationship with Krypto, she exits stage left with her faithful pup and heads out on another adventure, which — while not a post-credits scene — does give us a glimpse at what’s to come for the immediate future of the DCU.

How Superman Sets Up Supergirl

"I’m sick of the superhero title, colon, other-name thing," Gunn recently shared in an interview. That explains why both Superman — originally titled Superman: Legacy — and Supergirl — originally titled Supergirl: Woman of Tomorrow — ended up with their shortened names. That's important to note here as the version of Kara that we get in Superman is decidedly from Woman of Tomorrow, the 2021 eight-issue limited series by Bilquis Everly and Tom King, which director Craig Gillespie and writer Ana Nogueira are adapting for their upcoming 2026 Supergirl movie. Seeing as Supergirl is only in Superman for around two minutes, you might be questioning just how it's setting up her film other than introducing the curse-loving version of Kara. But it's all in the details, especially when it comes to her hard-drinking approach to heroics.

During a press event that IGN attended, Gunn described this Kara as "much more hardcore and not the Supergirl we're used to" and that's underselling it. In the comic which inspired this version of our Kryptonian heroine, we see Kara as a hard-drinking 21 year old who has been touring planets with red suns in order to be able to get wasted. Why does she love to drink? Well, in this version she was raised on an exploded piece of her planet and forced to watch her loved ones die as she hurtled towards Earth. The story follows Kara as she drinks her way across the galaxy with Krypto in order to celebrate her 21st birthday. She gets into fist fights, brawls, and finds herself in more than a couple of life-threatening ruckuses, but it's when she meets a young woman named Ruthye Marye Knoll that her quest changes. Ruthye's father was killed by a brutal thief named Krem of the Yellow Hills, and she enlists Kara to help her kill him.

Inspired by the classic Western film True Grit, with a wild fantasy sci-fi twist, this is a genre story unlike any other as Ruthye and Kara team up on a quest for revenge which feels like a far cry from the sweet, heartfelt, and decidedly family-friendly Superman. By simply name dropping the comic that will inspire her upcoming film, Gunn and Co. aren’t shying away from just how different Clark and Kara are. We’ve already seen her curse and stumble about the fortress before clumsily flying away with Kyrpto to — presumably — wreak more havoc. By establishing the super cousins’ status quo early, fans already have a glimpse of what’s to come when they next meet the Girl of Steel on her dangerous quest to help Ruthye get revenge for her father.

Why Supergirl's New Attitude Works in the DCU

During Superman we meet Rachel Brosnahan's fiercely driven Lois Lane and Nicholas Holt's obsessive Lex Luthor alongside the heroic titular Kryptonian. But the film isn't just concerned with the core cast as Gunn pulls from deep comic book canon to bring characters like the Engineer (Maria Gabriela de Faria) , Eve Teschmacher (Sara Sampio), and everyone's favorite Lex Luthor minion... Sydney Happersen (Stephen T. Blackehart).

This is a world deeply concerned with the under utilized or unexpected takes on characters, and it's what makes this Kara feel so right. Instead of taking from the most well-known version of The Girl of Steel, we instead get the hard-drinking, depressed, and hilarious version from Supergirl: Woman of Tomorrow. It opens up potential that could deal with some of the most interesting and under explored aspects of Supergirl and her history in comics.

It's not just innovative, though. It actually makes a lot of sense. In the comics Kara was always supposed to be the elder Kryptonian survivor, sent to look after baby Kal-El as he heads to Earth in order to survive the destruction of his home planet. No matter what version of her story you read, you learn that Kara was essentially frozen in time as she took years to reach Earth, leading her to look younger than her cousin and arrive on Earth after he's already an established hero. That's not an easy thing to live with, and while Kara has often taken a more hopeful approach inspired by her famous relative, it's nice to think that we might see her get to explore and express the reality of that, which is far more horrifying and sad than you might think.

This isn't even just something that is explored in Supergirl: Woman of Tomorrow either. Throughout Kara's history she's been dealing with this trauma — and the nightmare of being killed and resurrected during the original Crisis on Infinite Earths, something you can learn more about in Mark Waid's recent New History of the DC Universe — and we've never gotten to really see it on screen in a way that centers Kara and still allows her to be the hero of her own story. The upcoming Supergirl film has a chance to rectify that, giving us as the audience a rich and layered take on the hero and granting Kara a new lease on life when it comes to exploring her future after the horrors she’s endured. .

If you're looking for more Supergirl to read as you wait for the new movie, the current Supergirl series by award-winning cartoonist Sophie Campbell and colorist Tamara Bonvillian is a far cheerier affair, but it does reintroduce Kara in a really interesting and thoughtful way that also brings her back to around 21 years old. Given that this is around the same age as she is in the DCU and Gunn’s expressed interest in keeping a huge swath of the new DC Universe connected, it'll be interesting to see how else the mainline DC books dovetail with the DCU and the co-chair’s wider exploration of Kara as a hero and survivor of the Kryptonian destruction. For now though, we'll just look forward to another yet another punk rock addition to Gunn's ever growing new roster of DC heroes

This Supergirl Will Finally Allow Kara to Grow Up

If Supergirl spent the majority of the Silver and Bronze Age as an empowered and self-assured young woman, representing the type of reader DC hoped to attract, she spent most of the modern era as a good girl in a mini-skirt. Readers have rarely gotten to explore the inner depths of Supergirl and even the most passionate Kara fans wouldn't say that her big screen career has been fruitful let alone layered. Here we get to see a Supergirl that is already defying our expectations, a young woman who is on her own journey after her life was upended on an unfulfilled quest to save her young charge.

If the previous Supergirl iterations represented the type of audience that DC was trying to attract in the past, this Kara should tell us about what Gunn and DC are trying to attract to the DCU. There's an understanding here that women of all ages need complicated and thoughtful representation and that sometimes looks like a woman with a hangover calling a man (of Steel) a bitch. If The Suicide Squad's Ratcatcher II was Gunn's loveletter to tired millennials then Kara can be Gen Z’s proverbial eff you to the expected contraints and respectability that women are forced into.

Rosie Knight is a contributing freelancer for IGN covering everything from anime to comic books to kaiju to kids movies to horror flicks. She has over half a decade of experience in entertainment journalism with bylines at Nerdist, Den of Geek, Polygon, and more.

Dispatched by the crown as part of a secret expedition to a remote island part of the realm, you're ready for a life of adventure. But in third-person RPG Of Ash and Steel you're not one of the highly-trained, well-armored holy knights trying to enforce the will of the king… you're the clever orphan-turned-cartographer along for the ride because the maps of the island, Grayshaft, are pretty bad. Perhaps they're bad because the island suffers periodic volcanic eruptions so devastating that it's blanketed in deadly ash that cakes inside your lungs and kills you, eruptions so awful that ships avoid the island for the entire year when one seems imminent.

Which is obviously why brave cartographer Tristan has agreed to go there. And so like many fantasy protagonists, Tristan will soon be in way over his head—all because he wanted a bit of adventure—when the holy knights are all dead and he's the only one left to deliver the urgent missive. At least, that's what a hands-on preview with a beta build tutorial and first few hours of Ash and Steel told me.

Of Ash and Steel looks like a pretty traditional RPG, reminiscent of classics from the 2000s. It's unapologetic about not giving you quest markers or anything but in-world directions, but at the same time it does highlight loot on the ground or chests you can interact with when you're near them. It's somewhere between Gothic and the first Witcher game, in its own way, with a nod toward the survival-centric games of the last decade or so. While it doesn't go all-in on survival and encumbrance, Ash and Steel still has something of the 2019 RPG Outward in it.

More than anything, Of Ash and Steel feels like a game in the legacy of dearly departed mid-tier RPG studio Piranha Bytes, creators of the Gothic, Risen, and Elex series. That includes the signature campy acting mixed in with some decent drama, as well as plenty of oddball and unexpected humor. (One early quest has you finding the soiled trousers of a man who, when drunk, just craps himself and leaves the pants right there to clean up later.)

Perhaps its most old-school feature is how it has no level scaling in its world—creatures are a fixed level in a fixed location, forever. You're warned early on that going off the path can be dangerous, and each new enemy encounter is often a question of getting close enough to see if it massively out-levels you before you decide to try and take it on or not—and hope for good loot when you do. Coupled with that lethal-but-rewarding exploration is the rudiments of a survival system, where staying fed and watered is a must to survive, and setting up shop at pre-determined campsites lets Tristan rest and cook to regain hit points and pick up buffs. It also passes time, which is useful in a world where the NPCs and monsters follow a schedule of their own as to when and where they appear, or even when they're taking a nap and won't talk to you about your very urgent quest.

Tristan has three skill trees, and perhaps the most pressing one is Combat. Investing in combat skills lets you pick up to three different stances to fight from, each of which looks to have different effects based on what kind of weapons you're wielding—there were axes, swords, clubs, daggers, and a crossbow. Sadly, poor starter Tristan wasn't strong or competent enough to wield most of them.

Which is a big part of what I think the story developer Fire Frost is telling with Of Ash and Steel. This isn't a fantasy hero game where your character starts as competent at any useful skills relevant to his current situation. It's going to be a zero-to-hero story, with other characters in the world reacting to Tristan as he grows stronger. "If at the beginning of the game you were treated like a ragamuffin," said Fire Frost, "by the end of the game the characters will literally bow to your feet."

There was a hint of that in action during the preview play, as characters who previously saw Tristan dressed only in threadbare clothing later had complimentary things to say about a suit of basic armor I'd purchased. Where before they'd just asked: "Are you really wearing that?" they later said, "Ah, I had a sturdy suit like that when I was younger."

And a sturdy suit of armor is much needed, because the fighting can get pretty brutal. Armor will help you survive a few hits, but the stamina-based combat was really based around perfectly timed dodges and parries. Tristan's attacks, at least at the start of the game, are slow and clumsy—he's literally never fought before. As he got combat skills, though, he moved more confidently and picked up the ability to parry in a way that opened up enemies for counterattacks. That blended well with a fast knife, which let him get in those hits before quickly going back on his guard. Still, there's some tweaking to do on the early stages of the fighting—some people will definitely bounce right off of how clumsy Tristan was, or just won't be familiar with the time-honored strategy of "train the difficult enemy into a nearby powerful NPC."

Speaking of trying to survive, that's the focus of Tristan's other two skill trees: Survival and Crafting. They're much more down-to-earth, practical skillsets simply due to their nature. Survival lets you keep yourself fed and alive, while Crafting lets you upgrade and upkeep your equipment. Crafting also does one very important job: Makes you money. Quests and other odd jobs are a great source of experience and cash, sure, but paying people to train Tristan in all these new skills ain't cheap.

What was cool is that investments of money and skill points into the Craft and Survival trees actually did pay off in combat. A good craftsman can better sharpen their weapon for bonus damage, or reinforce their armor for extra defense. Survivalists, meanwhile, could pick up nasty tricks like thrown daggers and the use of poisons on their weapons—though poor preview Tristan was a bit too intellectually dull and low-level to get to try those skills out.

Even with all the advantages of level and time, however, Of Ash and Steel is definitely going to be a game where you get your butt kicked. A lot. Quicksave, I expect, is Tristan's greatest friend in the world. Enemies hit hard, and enemies that are higher level than you hit extremely hard—or even so fast that poor low-level Tristan simply stood no chance of reacting in time, let alone getting a single attack in. As a result, he got splatted by a lot of things. He got mauled by a giant rat-thing. Trampled by a big bug. Eaten by a lizard-thing. Dismembered by all manner of bandits, both living and apparently undead.

And the only dang reason Tristan didn't get splatted by this giant troll is because when everything can splat you, well, you get pretty good pretty fast at running and climbing your way out of danger.

While some people might find that kind of thing frustrating, Of Ash and Steel was pretty nice on that count. The action-RPG combat was somehow clunkier than a FromSoftware game but settled into its own rhythm after a while, and hopefully gets more and more fluid with more skills and abilities in the full game.

Don't expect miracles from Of Ash and Steel, but the preview was evidence of a promising mid-tier RPG that'll likely enthuse ye olde genre purists while still being accessible and interesting enough to draw in lovers of more modern character-driven action.

Superman may be widely regarded as one of the greatest pop culture icons of all time, but there’s one area where even the Man of Steel has struggled to fly. Why, after all these years, aren’t there any good Superman video games? Where is Superman’s answer to Rocksteady Studios' Batman Arkham series or Insomniac’s Spider-Man games?

With James Gunn’s Superman movie putting Kal-El back in the spotlight, let’s take a step back to explore Superman’s incredibly rocky gaming history, and why there still hasn’t been a great Superman game after all this time.

Superman’s Ugly Gaming History

In many ways, the problem with properly depicting Superman in games isn’t so different from movies or TV or even the comics. He’s an incredibly powerful character. Some would argue that he’s overpowered. When a guy has this level of strength, speed, and invulnerability, not to mention all the other handy powers like flight and heat vision, it’s hard to paint him as the underdog. How do you build a game around a guy who’s basically all-powerful and still create challenges for the player to overcome?

The Problem With Superman’s Powers

Some Superman games have made the mistake of weakening Superman or walling off his powers. That problem dates all the way back to the very first Superman game, 1978’s Superman for the Atari 2600. Like a lot of licensed games on that system, you’d have to squint to even recognize the source material in those blocky, primitive graphics. But that’s not the core issue with the game.

Superman tasked players with repairing Lex Luthor’s damage to Metropolis and capturing the villain and his henchmen in as short a time as possible. Exposure to Kryptonite would cause Superman to lose his powers, with the only cure being a kiss from Lois Lane. Not the most auspicious start for the Man of Steel.

The NES game is the perfect example of this frustrating trend. Similar to contemporaries like Castlevania II: Simon’s Quest and The Legend of Zelda II: The Adventure of Link, the NES Superman featured a top-down overworld map that transitioned into various side-scrolling action levels. However, the game committed the same sin as many superhero games of the time by locking Superman’s various powers behind limited-use special meters. That, combined with a generally obtuse and punishing difficulty level, ensured the NES Superman was never much fun to play.

When your flight, heat vision, X-ray vision, and other powers are tied to rapidly depleting special meters, you don’t really get the sensation you’re playing as Superman. It’s not as if he normally has to ration his powers in the comics and films.

Superman’s Generic ‘90s Phase

The late ‘80s and early ‘90s saw a handful of new Superman games released, including the 1988 Superman arcade game from Taito and the 1992 Sega Genesis side-scroller. These games weren’t as egregious as their predecessors about walling off Superman’s powers. The problem during this period was more that Superman was relegated to generic side-scrollers and beat-em-up titles - the same fare gamers were being inundated with across the industry.

The most notable release in this crop is 1994’s The Death and Return of Superman. Based on the popular comic book crossover, that game cast players as both Superman and his replacements from the comics like The Eradicator and Steel. It was basically DC’s answer to Spider-Man: Maximum Carnage, coming in an era when the prevailing wisdom for superhero games was “when in doubt, make an arcade-style brawler.” Fine for keeping Superman in the public consciousness, but not for forging games that truly take advantage of his vast powerset. It’s tough to truly feel like a Man of Steel when you’re just moving left to right and punching endless waves of generic enemies.

The Infamous Superman 64

Superman’s gaming fortunes seemed to be on a slow upswing in the ‘90s, only for the franchise to reach its nadir with 1999’s Superman: The New Adventures. Or as we all know it, Superman 64. Put simply, Superman 64 is still widely regarded as one of the worst games ever made, with clunky flying controls, frustrating difficulty, and more bugs than even Superman’s heat vision could hope to melt. It’s not exactly a looker, either.

Superman 64 highlights the issue that no game has really nailed the art of controlling Superman in flight in a 3D environment. Superman 64 forced players to steer a clunky Man of Steel through an endless series of rings and obstacle courses in a fog-covered Metropolis. Much later, Superman Returns would emerge with a somewhat better and more intuitive system of flight control, but the lack of Superman games since means no one has iterated on that design.

Fortunately, the franchise did bounce back a bit with the release of 2002’s Superman: Shadow of Apokolips on the PS2 and Gamecube. Compared to Superman 64, that game did a much better job of capturing the look and feel of the animated series. That said, the gameplay never matched up to the production values. If this is generally considered to be the best Superman game of all time, that’s still damning it with faint praise.

Superman the Protector

Some of the more modern games have veered in a different direction by making Superman himself invulnerable but centering gameplay on rescuing civilians and protecting Metropolis. In some ways, that feels like a step in the right direction. The key to understanding Superman is realizing that, as powerful as he is, he can’t save everybody. He does have limits.

For example, the Xbox got its own Superman game in 2002 courtesy of Infogrames in the form of Superman: The Man of Steel. Based on the comics rather than the animated series or movies, this game pitted Supes against Brainiac. While the game succeeded in giving players control of a wide variety of super-powers, the lousy controls and emphasis on protection missions served as a one-two punch of doom.

Then there’s 2006’s Superman Returns, a game with interesting ideas but subpar execution. The game featured most of the cast from the film reprising their roles, along with other iconic Superman villains like Bizarro and Metallo for good measure. To its credit, the game didn’t put many limits on Superman’s abilities as it introduced an open-world version of Metropolis. In fact, the Man of Steel himself was effectively invulnerable, with Metropolis itself having a health meter. But between the poor controls, equally bad graphics, and the fact that the game’s final boss was a literal tornado, Superman Returns was ultimately panned.

Building a game around rescuing innocent bystanders (like Superman: The Man of Steel) or protecting Metropolis itself (like Superman Returns) can be an exercise in frustration. Protection missions in games are always a tough sell. Without fine-tuned controls and an NPC AI smart enough not to be actively fighting against the player at all times, these missions can be aggravating at best and downright rage-inducing at worst.

How Should the Superman Franchise Move Forward?

Shockingly, that’s it for Kal-El’s gaming career. It’s been almost 20 years since the release of Superman Returns, and the Man of Steel has yet to star in another dedicated game. His subsequent gaming appearances have been limited to Justice League-centric series like Injustice: Gods Among Us and LEGO Batman. Superman is also playable in Fortnite, but there he’s basically just a dude that flies and shoots lasers. At some point, developers seem to have given up trying to crack the Superman code.

The gaming world has yet to deliver that satisfying Superman experience that embraces all his incredible powers while still creating a sense of danger. What’s the key? Do you load up enemies with Kryptonite weapons? Do you follow the example of the Injustice games and create a super-strength-bestowing MacGuffin that levels the playing field?

Maybe there’s a better question to be asking. Does a Superman game even really need combat in the first place? Certainly, Telltale found success with the Batman franchise in an adventure game setting. Could Superman benefit from a similarly narrative-driven approach? Is a full-blown Superman point-and-click adventure game the way to go? Maybe, but there are other ways of downplaying action in superhero games.

We’re seeing modern AAA games like Death Stranding start to deemphasize combat in favor of other mechanics (some would argue the Death Stranding games would be better if they eschewed combat entirely). Maybe the key is to pivot away from a traditional action game focus in favor of finding other ways to explore and utilize Superman’s powers.

2005’s Shadow of the Colossus offers another possible path forward. That game isn’t devoid of action, but it does break the traditional mold by focusing on exploration and limiting combat to the battles with a handful of massive boss characters. Maybe that’s the key to getting Superman right. Rather than pitting him against generic goons like Parademons or Intergang agents, perhaps the goal should be to focus on a handful of epic, prolonged boss battles. Picture Kal-El’s fight with the kaiju in James Gunn’s Superman movie and you’ll have some idea of how a Superman game could play out.

Ultimately, flight, not combat, is the most important component of a Superman game. Flight in Superman games is really as key to the overall success as web-slinging in Spider-Man games. Activision nailed that element in 2004’s Spider-Man 2, paving the way for Insomniac to cut loose in their Spider-Man games. We can’t say the same for Superman. Without more modern Superman games to take risks and explore the possibilities, the character has completely stagnated in this medium.

It’s probably going to take some trial and error before a developer hits upon the perfect, Arkham-esque formula for Kal-El. And that requires DC to prioritize Superman in the video game arena once more. With any luck, James Gunn’s Superman movie will be a major success, thereby serving as the catalyst the character needs in the gaming world.

For more, check out Wolverine's clawful history in video games and the long road to perfecting Batman in games.

It's snack time, baby! If you don't already have an air fryer, Amazon is giving you a great excuse to get one. Right now, Amazon is offering 50% off the Ninja Air Fryer XL for a limited time. Although it's not a Prime Day-specific deal, it should be treated the same as limited-time deals also don't last long and could be gone at any time. This specific model is at its lowest price we've seen since Black Friday 2023 (within $1 of the all-time low price then)! Plus, air-fried foods are popular for a reason: You get crispy goodness without the guilt of extra oil and fat attached.

The TL;DR is: The Ninja Air Fryer XL model is incredibly popular, with over 85k total 4.7-star ratings on Amazon. Offering a 5.5-quart capacity, the XL model is the same price as the slightly smaller 5-quart model (Pro), so it's a no-brainer to get the XL if you're trying to decide between the two. Another big win for this air fryer is that its basket and crisper plate are dishwasher safe, so you can clean up in no time. I would shop the deal as soon as possible since it may not be discounted again until Black Friday, and that's a long time to go without an air fryer in your life.

The Ninja Air Fryer XL Is 50% Off Today

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Other Last-Chance Deals for Prime Day Tonight

With just mere hours left in Prime Day, now's the time to stock up on other things you need at some of the lowest prices you'll see all year. See our top 10 things to buy before Prime Day ends, including a big 4k Blu-ray sale:

Lindsey (she/her) is IGN's Director of Audience Development and Commerce. She's been at IGN since 2021 and has a background in SEO, especially in the gaming, entertainment, and tech media spaces. Find her on Twitter at @LindseySalzer.