It is perhaps the most beloved intro cinematic in Warhammer 40,000 video game history, a precious relic of a bygone era that is seared into the memories of fans of Games Workshop’s grimdark setting. And woe betide anyone who dares to change it, lest the wrath of all four Chaos gods descend upon them.

That’s how I imagine the developers at Relic Entertainment felt after releasing a high quality version of Dawn of War’s iconic intro cinematic to accompany the announcement of the August 14 release date of the Definitive Edition.

The video, below, reveals the insertion of dialogue from the 2004 Dawn of War real-time strategy game into its intro cinematic, replacing some of the original audio along the way. Chief among the changes is the removal of an “iconic” (at least, for Warhammer 40,000 fans!) guttural scream bellowed by the Space Marine who leads the forces of the Blood Ravens to battle against the monstrous Orks.

In its stead is the battlecry of Gabriel Angelos, Chapter Master of the Blood Ravens, as it is heard in Dawn of War gameplay. The thing is, that’s not even Gabriel Angelos screaming in the trailer. It’s a Blood Raven sergeant. And, Dawn of War fans say, the new dialogue compares poorly to the heroic scream it replaced.

But that’s not all. Those with keen hearing and an even keener memory will notice other audio changes. The Dreadnought’s dramatic entrance is “ruined,” some say, by the addition of voice lines that distract from the heart-pumping sound of its Assault Cannon revving up and unleashing on the enemy lines. New Ork lines are inserted, too.

“THEY'VE RUINED IT! THEY REMOVED THE SERGEANT'S HOLY SCREAM!” declared one Emperor-living fanatic in the YouTube comments.

“The original sound effects were PERFECT. You didn't need to add all those voices. I'll be honest, they kind of ruined it,” said another devotee.

“Makes it feel less well done and not as cohesive. They just seemed so out of place and you can tell they're just shoved on top.”

“The new audio is awful. Really takes me out of it.”

“Leaving the sergeant's scream out is a crime against humanity, and therefore heresy.”

“Mind fixing the cinematic by restoring the original audio? The new stuff spliced in doesn't work at all and it kinda ruins the nostalgia for us. Hopefully it can be reverted by launch,” said another, perhaps more considered worshipper.

Perhaps that’s exactly what Relic will do. I asked the developer for comment on this online complaint barrage, and its response suggested the whole thing has taken the studio by surprise.

“We decided to change the scream as the original audio was quite distorted which was notable when compared to some of the audio touch ups in the enhanced trailer. That said, we’ve heard the feedback from fans — the roar was even more beloved than we realized! Who knows, we may have something for OG roar enjoyers before long.”

So, it sounds like Relic has a solution up its sleeve, which will hopefully go some way to placating the wrath of Warhammer 40,000’s passionate fanbase. I realize, however, that for the uninitiated, all this fuss may sound like an overreaction. All we're talking about here are a few audio changes, after all.

But there’s something unmistakingly gritty about the original intro trailer’s look, feel, and, yes, old-school audio. It reminds fans of a time in PC gaming’s history when RTS ruled the roost, the Astra Militarum were called the Imperial Guard, and Warhammer 40,000 superfan Henry Cavill had just finished filming Hellraiser: Hellworld. The original rekindles memories of hazy summer days spent hammering out Heretics, my flatmate desperately trying to outmaneuver my attacks. This new and “improved” intro cinematic is too clean, too… nice, and it will always be too recent.

None of this is to say Relic’s Dawn of War Definitive Edition is on a hiding to nothing. I’m genuinely excited to play it, and not just for a short-lived trip down memory lane. It’s a fantastic game — perhaps the greatest Warhammer 40,000 video game ever made — and I look forward to hammering out those Heretics all over again. Perhaps I’ll even convince my old flatmate to join me.

Back to the trailer! I interviewed design director Philippe Boulle back in May when the Definitive Edition was announced, and we gushed over Dawn of War’s intro cinematic. Here’s why it’s so good, according to Boulle:

“It was an amazing accomplishment at the time in terms of the fidelity. We really hadn't seen that for 40K at that time, and it really stood up as something that would reach out and grab you and say, ‘Hey, this is awesome. You need to pay attention.’ And it will still be in the game. It will be playing in beautiful 4K.

“The thing that amazes me about it when we look back at it is the directing really holds up. That I think is the undervalued key to it. For the time the rendering was phenomenal, but what really holds up is the pacing, the drama, the ending on this guy running up the hill and getting shot, planting that flag and the drop pods coming down… that just works and that didn't need any changing obviously. That just was like, ‘Oh yeah, that's the stuff.’”

Fun fact! Dave Wilson, executive producer and supervising director of the excellent Warhammer 40,000 episode of Prime Video’s Secret Level animated anthology series, led the creation of the Dawn of War intro cinematic.

Wesley is Director, News at IGN. Find him on Twitter at @wyp100. You can reach Wesley at wesley_yinpoole@ign.com or confidentially at wyp100@proton.me.

Edi Gathegi is wowing audiences as the scene-stealing Mister Terrific in James Gunn’s Superman, but his big-screen superhero journey got off to a troubling start.

Gathegi played Darwin, the short-lived mutant in 2011’s X-Men: First Class (which, coincidentally, starred Lex Luthor actor Nicholas Hoult as Hank / Beast). In the film, Darwin is able to reactively evolve (hence the name), but is easily killed by Sebastian Shaw. X-Men fans were surprised at Darwin’s fate, given the character’s established invulnerability in the comics.

In an interview with The Hollywood Reporter, Gathegi recalled how he had serious concerns about the plot of X-Men: First Class, which he expressed to his agent.

“I was in London after I’d just been offered the role, and they gave me a couple of hours to read the script to determine whether or not I wanted to do it,” Gathegi explained.

“So I read it, and I called my agents to say, ‘Hey, listen, I have a problem with the fact that this character is the only Black character in the film aside from Zoë Kravitz’s character. I am also the only mutant who meets an untimely demise halfway through the film.’ It was 2009 at the time, and I was like, ‘Killing the Black guy first is so played out. I can’t do this.’”

Gathegi said that following talks, he was “assured” that Darwin’s death as we see it in X-Men: First Class was part of a long-term storytelling plan that would have seen his character brought back to life in future films in the franchise.

“So there were conversations that happened, and then they assured us that it was essential for the storytelling in order to motivate the mutants to avenge my [character’s] death,” he said. “They also fully intended to bring my character back as they do in the comics. [Darwin] can’t die; he regenerates. So we held onto the hope that they would honor their word.”

This, however, did not happen, and Darwin failed to return in any of the subsequent Fox X-Men films (Days of Future Past, Apocalypse, or the most recent X-Men movie, Dark Phoenix). This, Gathegi said, came as a “surprise.”

“... I thought that I would be returning to that franchise over and over again,” he said. “I thought that there was potential for a bigger future. It was actually a surprise to never get the call to suit up again.”

Then: “... the way that they handled my character was a fumble.”

Now, Gathegi is philosophical about his history with the X-Men, saying “I’ve moved well beyond that.”

“... when I didn’t come back for X-Men: Apocalypse, I just knew it was done,” he explained. “So I didn’t really look back, to be honest with you. I speak about it when people bring it up, but I made peace with this years ago.”

Fast-forward 14 years and Gathegi looks set for a long-term, high-profile role in James Gunn’s rebooted DC Universe. After wowing critics and audiences as Mister Terrific in Superman (which got off to a big start at the box office), James Gunn is reportedly considering a Mister Terrific spinoff TV series. The expectation is that we will see more of this character, especially after that post credits scene.

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Superman got James Gunn’s rebooted DC Universe off to a flyer with a global weekend take of $217 million at the box office.

Domestically, Superman powered to $122 million, which was enough to make it the biggest domestic launch ever for a solo Superman film, not adjusted for inflation. That’s more than Zack Snyder’s Man of Steel, which kicked off the DCEU with $116.7 million domestically in 2013, and Superman Returns, which hit $52.5 million in 2006. Batman v Superman: Dawn of Justice, which included Justice League characters, launched to $166 million domestically in 2016.

Superman’s strong North American launch is the biggest superhero movie opening weekend since last summer’s billion dollar blockbuster Deadpool & Wolverine, which hit $211 million domestically. That means Superman launched bigger than Marvel’s Captain America: Brave New World and Thunderbolts* / The New Avengers. It’s also the biggest DC movie in a long time, and the first to hit a $100 million domestic box office launch since Wonder Woman’s $103.3 million in 2017. Internationally, Superman launched a little soft with $95 million.

In terms of 2025 films, Superman is behind only A Minecraft Movie ($162.8 million) and the live-action Lilo & Stitch ($146 million) at the domestic box office for launch weekend returns. And compared to prior James Gunn movies, Superman is second behind Guardians of the Galaxy 2 ($146.5 million), but ahead of the other Guardians films, including 2023's Guardians 3 ($118.2 million).

While Superman has started strong, a number of questions remain. How will it fare in the weeks ahead as Marvel’s 2025 tentpole The Fantastic Four: First Steps stomps into theaters? And will Superman settle on a global box office total by the end of its theatrical run that makes parent company Warner Bros. happy not just with the film’s performance, but the prospects of its new DC Universe?

For his part, James Gunn has said rumors surrounding exactly how much money Superman needs to make in order to be considered successful are wide of the mark. In a profile of Superman actor David Corenswet published on GQ, Gunn downplayed the box office pressure on the movie. “This is not the riskiest endeavor in the world,” Gunn said.

Gunn then called the $700 million figure that had been touted online as the minimum Superman needs to make during its theatrical run to avoid flop status as “just complete and utter nonsense,” but admitted there is of course some pressure on the movie to deliver for Warner Bros.

“Is there something riding on it? Yeah, but it’s not as big as people make it out to be,” Gunn said. “They hear these numbers that the movie’s only going to be successful if it makes 700 million or something and it’s just complete and utter nonsense. It doesn’t need to be as big of a situation as people are saying.”

We likely won’t get an accurate picture of Superman’s performance until Warner Bros. boss David Zaslav has his say during a financial call, but it’s easy to see why there’s more box office pressure on Superman than your average superhero film.

It is, after all, kickstarting Gunn and fellow DC Studios CEO Peter Safran’s rebooted DCU, which already has a number of eye-catching follow-ups in the works. For example, Superman leads into the events of HBO Max series Peacemaker Season 2. Then, next year, the DCU continues on the big screen with Supergirl starring Milly Alcock, and Clayface starring Tom Rhys Harries. If Superman flops, it will call into question the viability of everything that follows.

Check out IGN’s Superman review to find out what we think, and then head over to our Superman Ending and Post-Credits Explained to find out what it all means.

Wesley is Director, News at IGN. Find him on Twitter at @wyp100. You can reach Wesley at wesley_yinpoole@ign.com or confidentially at wyp100@proton.me.

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Warning: This piece contains spoilers for Superman.

Pull out your party hats, DC fans, because James Gunn’s Superman film is now in theaters. The first film installment in the new DC Universe franchise is entering its opening weekend with mostly positive reviews, including an 8/10 from IGN’s Tom Jorgensen. After the previous DCEU flamed out at the box office and with critics, Gunn’s relaunched DCU is at least starting on the right foot. Yet although there’s plenty to praise, like the great cast, optimistic tone, and David Corenswet’s Clark Kent and Rachel Brosnahan’s Lois Lane having actual chemistry, the MVP of the film is Nicholas Hoult as perennial Superman nemesis Lex Luthor, who is a fantastic character both on the page and in Hoult’s performance.

Why is he such a standout? Because he’s petty as hell. James Gunn and co. understand that Luthor–as well as most supervillains, but him especially–should be petty people driven by emotional impulse instead of grandiose ideology. Unlike other recent comic book movie villains who the movie tries to give “a point” to, this Luthor stays true to the source material by being solely motivated by absolute contempt for Superman, as it should be. Let’s take a look at what other comic book films could learn from Superman’s Lex Luthor.

Drinking the Haterade

If there’s one trait of Lex Luthor’s that even your average person on the street would know, it’s that he hates Superman with every fiber of his being (and that he uses his brains to fight him). Even from the trailers, much of the social media discussion about Hoult’s Luthor was centered around how much of a “hater” he appeared to be. Luthor in the film is a man of immense power and influence, commanding resources on a global scale. But all of it is funnelled into a single goal, which is destroying Superman, both physically and in the court of public opinion. There is no greater agenda at play, nor does Lex try to conceal his motives with a faux-philosophical school of thought. He freely admits to Superman that he’s doing this all out of jealousy, and his actions back up his words.

The Switch 2 has been out for over a month after what felt like an eternity of waiting. Gone are the days of speculating over how powerful it is, what features it has, and, for disabled players especially, how accessible it will be. The answer is here: Nintendo’s newest system is certainly an upgrade, and for me, the most accessible Nintendo system to date.

Unlike Xbox and PlayStation, Nintendo and accessibility are not synonymous, at least in the traditional sense. The company’s first-party titles don’t offer dozens of accessibility options like PlayStation and Xbox games do, and Nintendo has no official accessibility controller. While they recently joined other publishers as part of ESA’s Accessible Games Initiative, a resource that gives accessibility information for games through a tag system, some disabled players are still hesitant to call their games and systems accessible. And while I acknowledge these criticisms and fears, the refined system settings, mouse movement, and new Joy-Cons push the Switch 2 towards better accessibility.

System Settings

Like its predecessor, the Switch 2 features a variety of system accessibility options that benefit multiple disabilities. Returning settings include options to zoom on the screen, switch to mono audio, and even change the display colors. But the most important returning feature for me is the fully customizable controls, with five presets for each controller. That means each Joy-Con, as well as alternatives like the Pro Controller, can have separate control presets depending on the game. It’s one of my favorite features introduced on the Switch, and it’s especially helpful for physically disabled players. Even better, my Switch control profiles automatically carried over when I transferred my data to the Switch 2. This allows me to seamlessly begin playing games like Pokémon Violet without needing to remember how I configured it previously.

Thankfully, the Switch 2 adds several new options that further improve the overall accessibility of the system. Players can now adjust the text size, enable speech-to-text for Game Chat, and even enable a screen reader, an important tool for blind and low-vision players. While these offerings are available on both Xbox and PlayStation systems already, it’s nice to see Nintendo finally add these options and help welcome more disabled individuals to the platform.

The Pros and Cons of Mouse Movement

The Switch 2 adds a unique function to each Joy-Con – mouse movement. By flipping Joy-Cons face down on its sensors, players can drag the controller on any surface to mimic a computer mouse. And surprisingly, the transition from standard controller to mouse is perfectly seamless. There is minimal lag, and aside from the awkwardness of holding a Joy-Con on its side, mouse movement is one of the few Nintendo system gimmicks that I can use.

However, its longevity and extended use cause severe fatigue and strain on my wrists. Games like Drag X Drive – releasing on August 14 – which purport to rely heavily on mouse movement, will undoubtedly become inaccessible after a few matches. Even now, as I use mouse movement to search the eShop, I regularly find myself reverting to standard Joycon movements because of how uncomfortable it is to hold. Yes, the mouse cursor glides with ease, but constantly needing to slide back and forth is not conducive to my needs. For example, my computer mouse has a DPI (Dots Per Inch, which measures mouse sensitivity) of 11000. Anything lower mimics the Joy-Con’s mouse movement, and that’s not something I can use long term.

Joy-Con Upgrades

The Switch 2 keeps the same relative button layout as its predecessor despite being larger. However, I find the new size is beneficial for my disability. As it has progressed, so too did the atrophy in my hands, forcing me to rely on larger controllers, mice, and keyboards. The new Joy-Cons, while not substantially bigger, allow me to easily glide my hand over the buttons, especially when placed on a table.

Nintendo also reduced the resistance on each button. On the original Switch, I regularly struggled to press the ‘Home’ button unless the Joy-Con was positioned in the exact same spot on my desk each time. And the ‘+’ and ‘-‘ buttons were impossible to use without outside assistance. With the Switch 2, I no longer struggle to press any button, nor do I need each Joy-Con to be precisely placed. For some, this is a relatively minor improvement, but for me, the ease of pressing buttons drastically increases my independence when using the system.

My only critique when using the Switch 2 in handheld mode isn’t with the button layout or system settings. It’s with the handheld battery life. While in handheld mode, the Switch 2 battery life lasts for approximately two hours before I get a notification that I need to charge the device.

If my hands worked, and I could use the Switch 2 in docked mode, this wouldn’t be an issue. However, because I require the system to be on a surface as the same height as my desk, I can only play my Switch 2 on my desk, away from any TV. And because this is uniquely a me issue, I can’t necessarily fault Nintendo. Yes, it’s annoying that the Switch 2’s battery means I have to regularly stop playing to charge the system, but at least I can play the system without fatigue or physical discomfort.

The Switch 2 is unmistakably an upgrade over its predecessor in terms of accessibility. I would go as far as to say it’s the Nintendo system I’ve been needing for years. Its gimmicks aren’t detrimental to playing, at least not yet, its controllers are beyond comfortable and conducive to my needs, and most importantly it’s just fun to play. Is it perfect? No, but no system can be, especially when accounting for the individualistic nature of the disabled experience. And the Switch 2, even in the early stages of its cycle, is by far my favorite console to play. And as more games are released, I’m sure it will undoubtedly replace my other systems.

Grant Stoner is a disabled journalist covering accessibility and the disabled perspective in video games. When not writing, he is usually screaming about Pokémon or his cat, Goomba on Twitter.

When the filmmaking duo of David Charbonier and Justin Douglas Powell chose a pregnant woman as the protagonist of their third feature, they settled on well-trod territory. Pitting a mother-to-be against a villain with fiendish designs on her child, Push invites comparisons to several classics of the horror genre, but it’s only the superficial similarities (and a couple copycat moves) that merit mentioning it in the same breath as Inside or Rosemary’s Baby. This arty chiller ultimately sacrifices believable characters and a cogent plot for the sake of good-looking scenes.

Our very pregnant heroine is Natalie, played by Alicia Sanz. The father of her baby is dead from a car crash and her family back in Spain is unsupportive, so she strikes out on her own as a realtor in, of all places, northern Michigan. Push takes place over the course of one harrowing day as Natalie tries to sell a sprawling, Tudor-style estate with a dark history, only to become trapped in the place by a shadowy psychopath (Raúl Castillo) who wants to cut the baby out of her.

While Push brazenly cribs from the audacious blueprint of Inside (how the baby daddy died, the home invader trying to perform an unauthorized Cesarean), it’s a more restrained affair. There is bloodshed, but for most of its brief runtime, Charbonier and Powell’s movie is composed, artful, and clean. We’re introduced to the setting as Natalie takes a rapturous, minutes-long stroll through the house. She spends many of the scenes that follow in a pristine white dress, replete with pantyhose and matching high heels – a reflection of Push’s strong aesthetic sensibilities, but not exactly the outfit a woman might choose if she anticipated going into labor or fleeing an assailant. In one tense moment, the shoes nearly cost her her life.

That fashionable, put-together appearance is ultimately more a liability than a keen addition to the script. It’s not like it’s an incisive criticism of beauty standards or sexism or anything; Natalie feeling compelled to stay late at the property, alone – rather than invite scrutiny as both the brokerage’s sole female realtor and a coward – is the extent of Push’s capacity for commentary. Instead, Natalie’s appearance feels like an oversight, like Charbonier and Powell have kept their protagonist in pumps mainly because they’ve failed to give her any common sense.

Still, Push looks great: The camera moves sinuously through the house, and tension builds deliciously during the first half as shadows slip in and out of the background. The villain is lit judiciously, his face often obscured, creating a sense of anxiety. But the directors seem to have forgotten that they need to convey information – not just pretty images – to their viewers. It’s easy to lose track of who has what weapons during climactic face-offs, and an intended shocker featuring a driver’s license doesn’t land because we haven’t gotten a good look at the villain’s face yet.

The prim visuals also clash with the plot. The intruder is supposed to be a manic killer, but Push’s predominant feature is control. (There is one scene of cathartic violence at the end, and Sanz is particularly excellent in it.) The question that haunts every home invasion movie – Why is this guy here? – ends up having such a bizarre answer that the whole ordeal feels silly.

It’s frustrating that Push fumbles so hard, given the strength of its craft. We could certainly use more taut, beautifully shot, boundary-pushing movies in the world. Unfortunately, this is a classic case of style over substance. If a movie puts placenta on the screen but still leaves viewers feeling cold, something has gone terribly wrong.