When Earth's mightiest heroes finally unite to take on Doctor Doom, who will lead the charge? Well, according to The Fantastic Four: The First Steps director Matt Shakman, it'll be Pedro Pascal's Reed Richards — an answer that has surprised many Marvel fans.

Cast your mind back to the last Avengers film, Endgame, and the superhero team's previous leaders then. Robert Downey Jr's Iron Man and Chris Evans' Captain America may no longer be with us, but Anthony Mackie's Sam Wilson has taken up the latter's mantle — and he was last seen in Captain America: Brave New World establishing a new Avengers team once more.

Brave New World did not name Wilson's Captain America as the team's leader specifically, but this was certainly implied — especially as Marvel's next film, Thunderbolts* / The New Avengers, then referenced a rivalry between Wilson's Avengers and the Thunderbolts' "New Avengers" team.

Now, despite Marvel already having two Avengers squads on its books, it sounds like the team's true leader in Avengers: Doomsday will end up being someone else entirely — and someone who is still yet to make their MCU debut, rather than a character fans have seen previously.

"He goes from being the nerdy scientist who's locked away in the lab, to the husband and the father who'd do anything to protect his family, to the guy who's leading the Avengers," Shakman said of Reed Richards, discussing the character in an interview with Variety.

It's a slightly odd thing to hear — especially as surviving OG Avengers veterans such as Mark Ruffalo's Bruce Banner and Chris Hemsworth's Thor are also still around. Why aren't either of these higher up the pecking order? What about Captain Marvel, even? And why not Sam Wilson?

Perhaps this is about star power — with Pedro Pascal seen as a bigger draw. Perhaps this is about the middling box office performance of Captain America: Brave New World, and a desire not to remind audiences of a film that is not beloved. Or perhaps this is simply about the film's story — with Reed Richards and Doctor Doom positioned as mortal enemies in the Marvel comics, after all.

Pedro Pascal's Reed Richards will make his big-screen Marvel debut in just a matter of days, when The Fantastic Four: First Steps opens in theaters on July 25. The character — along with the rest of Marvel's first family — will then return next year for Avengers: Doomsday, currently due to launch on December 1, 2026.

Tom Phillips is IGN's News Editor. You can reach Tom at tom_phillips@ign.com or find him on Bluesky @tomphillipseg.bsky.social

Sonic Racing: CrossWorlds will be sold as a physical Nintendo Switch game with the "full base game" included on a 64GB cartridge.

Switch 2 Game-Key Cards are physical cards that contain a key to download your chosen game. That means there’s no actual game data on the card you insert into your Switch 2, and you’ll instead need to download the full game once the card is inserted. Every Game-Key Card case should be appropriately labeled on the front of the box, but the practice has been troubling some gamers, especially those who prefer to physically own their games, not just license them digitally.

This is particularly good news for Sonic fans because there had been confusion and conflicting reports about CrossWorlds in particular. Now, however, Sega has removed all doubt, confirming in a new FAQ that "the physical version will feature the full base game on a 64GB cartridge."

The FAQ also confirmed that crossplay will be available for Nintendo Switch 2 players, progress will carry over from the original Switch to the newer edition, and yes, there will be a $10 upgrade pack for anyone hoping to upgrade to the Switch 2 version in the future.

By contrast, Square Enix was criticised by fans earlier this week for confirming there would be "no upgrade path" for its Dragon Quest 1 & 2 HD-2D Remake on Switch 2, and that its save files would not be compatible across platforms.

Sega has said CrossWorlds will feature a huge roster of over playable characters, if you include DLC. Characters you’d expect to see, such as Sonic, Dr. Eggman, Knuckles, Shadow, and Tails are present and correct, but now you can add the likes of SpongeBob SquarePants, Avatar, and Teenage Mutant Ninja Turtles into the mix.

CrossWorlds is, of course, going up against Switch 2 exclusive kart game Mario Kart World, which has so far resisted adding guest characters from outside Nintendo's portfolio. Sonic Racing: CrossWorlds is set for release on both the Switch and the Switch 2, so it looks like we’ll be set for some old-fashioned Mario vs. Sonic kart racing rivalry when Sega's effort launches in September.

IGN recently went hands-on with Sonic Racing: CrossWorlds and came away impressed. “It’s a vibe,” we said, “and one that I’ve enjoyed and will look forward to drifting through.”

Vikki Blake is a reporter for IGN, as well as a critic, columnist, and consultant with 15+ years experience working with some of the world's biggest gaming sites and publications. She's also a Guardian, Spartan, Silent Hillian, Legend, and perpetually High Chaos. Find her at BlueSky.

Roblox has announced a new range of safety features directed specifically at teenagers ages 13-17, including a new age estimation technology that uses AI to guess a user's age based on a video selfie they submit.

Today's announcement reveals several new features being implemented in Roblox that the company claims will improve teen and child safety on its platform. At the core of the announcement are new features specifically for teens ages 13-17, giving them more freedom on the platform than younger children but still less than adults. Teens will be able to designate "trusted connections" on Roblox, with whom they will be able to chat on the platform without filters. Per Roblox, the goal is to better monitor conversations teens are having on Roblox rather than having them lured to third-party platforms where unmonitored conversations could become inappropriate.

Trusted connections are intended to be set between users who know one another well, and if a teen intends to set someone 18+ as a trusted connection, they can only do so using a QR code scanner or a contact importer.

In the past, Roblox has relied on the submission of a government ID verifying that users are 13+ or 18+ to unlock certain platform chat features. However, it is now implementing an alternative verification method. Individuals can submit a "video selfie" to Roblox, and an AI will determine if it believes the person in question is 13+ by analyzing it against "a large, diverse dataset." Google began testing a similar feature earlier this year, as did Meta the year prior.

In addition to these changes, Roblox is also adding new tools such as online status controls, a do not disturb mode, and parental controls for parents who have linked their accounts to a teenage's account.

Roblox has long been in an uncomfortable spotlight regarding its handling of children's safety. In 2018, it made headlines when a mother reported her seven-year-old daughter's Roblox character was violently sexually assaulted by other players in-game, and separately a six-year-old girl playing Roblox was reportedly invited into a "sex room". In 2021, People Make Games published a report on the ways in which Roblox's business model allegedly exploits child labor. In 2022, Roblox faced a San Francisco lawsuit accusing it of enabling the financial and sexual exploitation of a 10-year-old girl. In 2023, it was sued both for allegedly facilitating "an illegal gambling ecosystem" and more generally for having lax child safety protocols that allegedly led to financial loss and children's exposure to adult content. Just last year, Bloomberg published a damning report highlighting the prevalence of child predators on the platform. That same year, the platform claimed it reported over 13,000 incidents of child exploitation to the National Center for Missing and Exploited Children in the year 2023, resulting in the arrest of 24 individuals who allegedly preyed on children through the game.

"Safety has always been foundational to everything we do at Roblox," said Roblox chief safety officer Matt Kaufman in a statement alongside today's new feature news. "Our goal is to lead the world in safety and civility for online gaming. We are dedicated to supporting experiences that are both deeply engaging, and empowering for players of all ages, while continuously innovating how users connect and interact."

Rebekah Valentine is a senior reporter for IGN. You can find her posting on BlueSky @duckvalentine.bsky.social. Got a story tip? Send it to rvalentine@ign.com.

It’s that time of the year again and EA has revealed the cover stars of its next soccer game, FC 26. But this go around there’s concern that the infamous 'Madden curse' has spread to EA’s soccer series, after joint cover stars Jude Bellingham and Jamal Musiala suffered significant injuries that left them facing lengthy spells on the sidelines.

“It’s really nice to share this moment with Jamal, as a reflection of how far we’ve come,” said Real Madrid and England midfield star Bellingham in a comment accompanying the announcement.

“I remember our times rooming together in the England Youth team, we’d play the game all the time. Where I’m from, everyone knows the game, everyone plays it and talks about it so much. I’m grateful to be given the opportunity to be on the cover again.”

And here’s a comment from Bayern Munich and Germany forward Musiala: “When I found out I’d be on the cover of FC, it was such a crazy feeling. I thought, how could I tell my little brother? He’s a big fan of the game, so this will be a nice surprise for him. It’s something I always wanted growing up and it’s such a big part of football culture. Who knows, maybe I can still beat Jude at FC.”

The problem is, both players are injured and are set to miss a significant chunk of the next season. Let’s start with Bellingham. The 22-year-old just had surgery on a long-standing shoulder injury that’s set to keep him out of the game for up to four months. That means he’s going to miss the start of next season and may not return until November.

It’s worse for Musiala, though. He suffered a horrible injury playing at the Club World Cup that rules him out for between four and five months. After breaking his leg and dislocating his ankle in the same incident, the 22-year-old is set for a long absence.

All this means FC 26 launches in September with both its cover stars unable to play the game. One potentially won’t play again until 2026. Hardly ideal for the marketers at EA Sports, who must be wondering whether they are now cursed.

The alleged risk of using a well-known Pokémon Go exploit is causing widespread confusion among the game's community, fuelled by a dire warning from a senior player that supposedly originates from the app's own development team.

Said warning states that Pokémon Go's developers are aware of the exploit in question — which allows users to interact with in-game locations from further away than normally possible — and consider it "a violation of the Terms of Service of the game."

Continued use of the exploit is detectable by the developer's anti-cheat teams, the warning goes on to claim, and risks users' accounts being flagged for cheating — an offense that can eventually result in a permanent account ban.

The appearance of this message, and the claim it is being passed on from Pokémon Go's makers, has sparked a firestorm of debate, primarily over the rights and (mostly) wrongs of this exploit being viewed as cheating in the same vein as more nefarious tactics.

Many players have said that this "trick" simply makes use of a unintended bug in how the game functions, and is not comparable to the tools some players use to actively break the game, such as by using third-party apps and hacks to spoof their location.

There's also a debate over the veracity of the message itself — both over its origins, which appear to be from a senior player marked as a Community Ambassador who has spoken to the game's developers, and over the likely intent behind what was said.

To understand the nuances here, it's worth taking a look at the issue in more detail. At a base level, the exploit allows players to access a raid lobby slightly beyond their normal interaction radius via a Daily or Premium Raid Pass, rather than by using a more expensive Remote Raid Pass.

Performing the exploit — referred to locally among players as "flying," "floating," or "tricking" — is clearly not intended behavior, but can hardly be considered game-breaking. Accessing a raid lobby that's less than 100m away but slightly out of your normal range is considered by many players to simply be a convenience — and potentially an aid to taking part in more raids overall, even if this is done so without the top-tier Remote Raid Pass.

That said, a simple glance at the game's Terms of Service (TOS) shows that, according to the letter of the law, this could indeed fall under the game's description of cheating as it stands.

IGN contacted the Pokémon Go development team to ask about the origins of the warning, whether the exploit was indeed considered cheating, and what actions players might expect if they continued to use it. In response, a spokesperson pointed us back to the game's TOS document, and specifically its section on cheating, which we'll quote below.

Now, it's entirely possible to see how this exploit could fall under the TOS' definition of using "techniques to alter or falsify a device's location" and therefore — again, according to the letter of the law — is something that could be considered cheating.

But by pointing IGN back to its TOS, the Pokémon Go development team is also — deliberately or not — highlighting something potentially crucial around this issue's enforcement. And that's the fact that, once again, according to the letter of the law, playing with multiple accounts is also considered cheating — despite it being something that a percentage of the game's playerbase does, with absolutely zero infraction.

What this may all ultimately boil down to is someone purportedly asking the Pokémon Go development team for its view on an issue that the game's makers would obviously never sanction, but which seems unlikely to suddenly result in waves of players being banned. And yet, because of the murky origins of the warning, and because nuance can be difficult when messages get passed over the internet, players have now been left aggrieved and concerned.

Will the exploit stick around in the game forever? It seems unlikely. Will players suddenly find themselves banned for using it while it's still possible? This seems unlikely too. But, we should state, this is just one reading of the situation, in lieu of any formal statement being provided — something which, if formalised, would likely only prompt the need for actual enforecement, which the majority of players seem to be against.

Tom Phillips is IGN's News Editor. You can reach Tom at tom_phillips@ign.com or find him on Bluesky @tomphillipseg.bsky.social

Donkey Kong Bananza is out today, and the game's credits have now confirmed Nintendo's main new voice actor behind Donkey Kong.

Unusually for a Nintendo game, Bananza's credits list out each of the game's voice actors with their specific roles — and right at the top is Kouji Takeda, credited as Donkey Kong in all of the game's various language options.

Takeda, who voiced Donkey Kong in the Japanese dub of the Super Mario Bros. Movie, now appears to have taken over as the video game voice of Donkey Kong as well, unifying the ape's grunts across mediums. This was something that was previously speculated — though not confirmed — when his name popped up in the credits of Switch 2 launch title Mario Kart World, while DK's previous veteran voice actor did not.

Eagled-eyed Nintendo fans noted that Takashi Nagasako, who previously voiced Donkey Kong for 21 years, was no longer credited for the character as of Mario Kart World. At the time, this was discussed as likely yet another change by Nintendo of its long-term voice acting cast, following the replacement of Princess Peach and Toad actress Samantha Kelly after 18 years and more than 70 games, and the retirement of Charles Martinet as the voice of Mario, Luigi, Wario and Waluigi after almost 30 years.

Bananza's credits also reveal a new voice for Pauline, with actress and musician Jenny Kidd now voicing the character for its English dub.

In Super Mario Odyssey, Pauline is voiced by Kate Higgins, who also sings the game's theme song Jump Up, Super Star! But perhaps this change is to be expected — after all, Bananza's Pauline is now a younger, 13-year-old incarnation.

Fans have some interesting theories around this version of Pauline being a precursor to the character we see in Odyssey, something that would make Bananza a prequel — and we even asked the game's development team for their take. But to say more, for now, would venture into spoiler territory — something that's best left avoided until you play the game for yourself.

Intrigued? We dubbed the game as a "a brilliant successor to Super Mario Odyssey and a smashing return for a classic Nintendo character" in IGN's Donkey Kong Bananza review. "Every element comes together in complete harmony to create Nintendo’s first Switch 2 masterpiece."

Tom Phillips is IGN's News Editor. You can reach Tom at tom_phillips@ign.com or find him on Bluesky @tomphillipseg.bsky.social

Silent Hill and Slitterhead creator Keiichiro Toyama is working on a brand new game.

Talking to Famitsu at an exhibition celebrating Slitterhead's wild concept art, Toyama discussed the horror game's reception, what it's like to run his own studio, and hinted that he's already working on another unannounced project.

While Toyama stressed the studio wasn't overly concerned about making a commercial game, he did acknowledge Bokeh Studios had expected the game to sell better, despite it becoming a cult classic. He also suggested that there was a little confusion about whether Slitterhead was a horror or action game, which muddied the message, but was proud of the work Bokeh developers did to make Slitterhead such an unusual game.

"As for how long we’ll be able to continue, it becomes a difficult topic, especially if we take my age into consideration," Toyama admitted, as translated by Automaton. "However, I believe that moving forward, I also have to pass the baton to the next generation. As a studio, we’re still midway to reaching our goal."

As for what his next game will be?

“I can’t reveal the exact details, but we have started working on our next title. In the beginning, we wanted this to be a studio where we could do many different things, like implementing the ideas of younger generations and even working on more light-hearted projects," he said, admitting that even though Bokeh's indie status allows it to try creative ideas, it's a long way from being able to do whatever it wants.

"Once again, we have to pour in all our efforts as a studio and prove that we are up to the task. We are currently working towards that goal. However, we’re still in the beginning phase, so I believe we’ll be able to reveal more details [about the new game] somewhere in the future."

Interestingly, Toyama did stress that he did not conclude Slitterhead with "a sequel in mind," suggesting his next game will not be Slitterhead 2, although it's possible we'll get one in the future.

We thought Slitterhead was mediocre, securing a 5 in IGN's review: "Like a bloody blade worn down by a few too many battles, Slitterhead grows increasingly dull over time and ultimately just doesn’t cut it."

As for the Silent Hill franchise itself? Well, Silent Hill f is next. While the series' J-horror roots have shriveled with each release, Silent Hill f looking to change all that, complete with a firmer emphasis on combat. Watch IGN’s Nick Limon, Matt Kim, and John Davison talk about what this Japanaese-based Silent Hill means for the future of the franchise.

Vikki Blake is a reporter for IGN, as well as a critic, columnist, and consultant with 15+ years experience working with some of the world's biggest gaming sites and publications. She's also a Guardian, Spartan, Silent Hillian, Legend, and perpetually High Chaos. Find her at BlueSky.

Good news, ‘80s action fans: Blasting bad guys’ brains out and balls off is still RoboCop’s business, and business is… unfinished. A standalone expansion to 2023’s entertainingly authentic RoboCop: Rogue City, RoboCop: Rogue City - Unfinished Business takes Robo’s relentless rampage off the scum-riddled streets of Old Detroit and up through the heavily guarded heights of OMNI Tower in an all-new, 10-hour killing spree. The bad news is that with precious few new weapons and enemy types, the action of Unfinished Business never really elevates enough to match the skyward trajectory of its setting or distinguish itself as little more than a replay of the original. There’s still plenty of ultra violence to indulge in here, but it’s a form of mindless fun that’s as familiar as it is ferocious.

Not unlike the 2012 sci-fi splatterfest movie Dredd, the action of Unfinished Business is contained almost entirely within the one highrise building and sees RoboCop making his way from the ground floor to its upper reaches in search of some stolen OCP equipment. It borrows a bit of BioShock as well, since Robo is initially led along by an anonymous assistant on the other end of a two-way radio, and that helps to lend a welcome air of mystery to the story’s opening half – even if it doesn’t eventually pay off with any shocking plot twists like Irrational Games’ underwater classic.

As was the case with the previous game, the success of Unfinished Business’ storytelling largely hinges on the often hilarious deadpan delivery of original RoboCop actor Peter Weller in the main role. Whether he’s repeating iconic lines from the movies or making subtle mockery of almost everyone he meets, Weller’s performance is a noticeable cut above the rest. Admittedly, that’s not a super high bar to clear since the supporting cast often sound like they’re voiced by hastily dashed-out placeholder recordings someone forgot to fill in with the real ones, and each seem to draw from the same shallow pool of character heads, making it tough to really distinguish one from the other. In the end, I was happy to go along for the ride all the way to Unfinished Business’ bullet-riddled gore-gasm of a climax, in spite of the fact that I didn’t particularly feel compelled to focus on anyone other than the scumbags standing squarely in front of my ironsights.

Business As Usual

Beyond the story, though, Unfinished Business is a fairly flat 10 hours because while it increases the amount of bad guys you have to shoot, it doesn’t do nearly enough to expand the variety of ways you do it. If you’ve played 2023’s Rogue City, then you’ve already experienced the bulk of what Unfinished Business’ combat has to offer. Once again, you’re able to ricochet bullets off walls to stylishly snipe enemies hidden behind cover, perform breach-and-clears on almost every door you come across in bloodsplattered slow-motion, and shoot explosive barrel after explosive barrel as you RoboStop and RoboDrop absolutely every criminal you come across. It’s all presented with the same fan-pleasing flair, from the green Apple IIe-like graphics of Robo’s heads-up display to the iconic theme music that swells along with the increasing enemy numbers, and that certainly still goes a long way. It’s just a shame to see the skill and Auto 9 upgrade systems copied across seemingly unchanged. You unlock the exact same perks like armour-piercing rounds and the ability to automatically deflect incoming enemy fire, just a little faster this time thanks to the story’s shorter runtime.

There are a handful of new mechanical enemy types to contend with at least, though none of them really shake things up to a dramatic degree. I did find myself making more consistent use of Robo’s returning slow-mo skill in order to combat the fast-moving robobombs that rapidly roll towards you, as well as the swarms of flying security drones that dart unpredictably through the air above. But while the nimble killbots that cartwheel around the place seem threatening at first blush, they quickly prove to be about as resilient as a jar of baby food as I either shattered their robot skulls with a quick burst of bullets or simply picked them up and disposed of them like katana-wielding Kleenexes, even on the hardest difficulty setting.

OMNI Tower itself does offer the occasional interesting space to host the slaughter in, from the vibrant video arcade and cinema found in the relaxation zone to the trashbag-strewn underbelly of waste management (complete with a Star Wars-style trash compactor to frantically blast your way out of). Those are the exception, though, and most of the carnage takes place in the charmless concrete corridors in between. That’s to be expected from a tour through a corporate dystopia, sure, but it doesn’t make for a lot of fun surprises. Despite the striking gallery of gore and particle effects that shower over each firefight, there were times that Unfinished Business’ drab interiors made it feel less like a thrilling action adventure and more like wandering in circles through a shopping mall carpark trying to work out where I left my 6000 SUX.

Still, the biggest problem I had with Unfinished Business’ gunplay was the same one I found with 2023’s Rogue City. That is, Robo’s signature Auto 9 – blessed as it is with unlimited ammo, easily upgradeable attributes, and an undeniable cool factor – makes the dozens of other firearms found throughout the campaign almost entirely redundant. It’s just so overequipped to deal with everything that’s thrown your way that I never found a good enough reason to holster it. It would be akin to a Star Wars adventure in which you default to the use of a lightsaber – you’re probably not ever going to clip it to your belt and pick up a Tusken Raider’s gaffi stick to crack heads with instead.

There is one exception: the cryo cannon that’s introduced in the second half proved to be worth a few charged-up trigger squeezes, especially since its sub-zero rounds turn your targets into instant ice sculptures that can be subsequently shattered like the T-1000. That’s a time-honored video game tradition that dates back to Duke Nukem 3D. But otherwise I almost never felt the need to bend over and grab any other dropped firearms – and not just because Robo appears to have the knee joints of an 80-year-old man (as well as the voice of a 78-year-old). In fact, the only time I felt forced to employ enemy uzis and shotguns was during an especially violent rescue mission late in the story – and that’s only because the thing I was trying to rescue was, funnily enough, my stolen Auto 9.

Murphy’s Law

Unfinished Business’ structure is effectively built around a cycle of using your Auto 9 to deep-six hordes of mercenaries, pausing to settle disputes between citizens in side missions that veer from moderately humorous to completely banal, and then flicking some switches and turning valves in its basic puzzle sections to open the path ahead before resuming the unrelenting blaze of glorious gore. There are only a handful of detours along the way that at least try to mix up the otherwise predictable pacing, with varying degrees of success.

In one flashback mission we get to pull on the kevlar-lined vest of Alex Murphy in his pre-RoboCop days, as he and his fellow officers are dispatched to investigate the whereabouts of some known perps. I enjoyed this small glimpse of Murphy’s origins in the Metro South precinct even if the stilted banter between his squad was more than a little wide of the mark, and there were some fun Easter eggs to find here including a memo that referenced the ominous rise of a new criminal on the scene that I won't spoil here.

However, the setting of this sequence lacks imagination given that its abandoned mill surroundings are a bit too similar to the site of Murphy’s infamous ‘crucifixion’ scene witnessed in the first film, and its combat feels somewhat topsy turvy. Where RoboCop must scramble to find OCP charges in order to replenish his rapidly depleting health, regular flesh-and-bone Murphy somehow magically regains it in between shootouts. That’s typical for a lot of first-person shooters, but it’s less of a contrast to playing as a walking tank than I’d been expecting. On the flipside, Murphy can only wield his boring old service pistol, which is frustrating because this was one of the few times I actually wanted to pick up a gun I found but couldn’t. It all makes for a diversion that’s important to the plot, but not particularly compelling to play.

Thankfully, the same can’t be said for the late-game level where you get to pilot an ED-209 mech. This fabulously frenetic stretch of fan service allows you to use twin arm cannons to shred through each hapless human like they’re that one poor bastard executive that probably should have hid in the bathroom during the original ED-209 demonstration, blast through concrete walls with rocket barrages, and even trample over a model of Old Detroit’s skyline while battling rival robots like you’re revelling in a small-scale clash of Kaiju. Sure, it’s perhaps not as cathartic as it could have been given that by that point I’d already very efficiently turned hundreds of mercenaries into mincemeat with Robo’s Auto 9. But I can’t pretend I wasn’t grinning like an idiot through the entire sequence, which ratchets up the carnage to ludicrous levels and doesn’t linger long enough to outstay the welcome of playing as a near-invincible killing machine.

I never got tired of seeing RoboCop himself onscreen either. As was the case with the previous game, his polished steel armour looks absolutely spot-on and he always seems to be lit with ambient neon lights like he’s emerging out of the driver’s side of a Ford Taurus on the poster for the 1987 film. That said, outside of the smooth lines of Robo’s movie-accurate character model there’s a noticeable roughness to Unfinished Business, at least on the PlayStation 5 version that I played. During my time with it I suffered frame rate dips, audio dropouts, animation glitches, dodgy lip syncing, ridiculous moon physics during slow-motion breaches, characters disappearing completely during finishing moves and story cutscenes, and even the occasional crash to the home screen. After a while I started to wonder if the “Unfinished Business” title was a nod to RoboCop’s everlasting quest for justice or merely a reference to the launch state of the game itself.

Games Workshop has added a Black Library logo to its official Big Summer Warhammer Preview showcase, sparking speculation the company may announce new novels that finally move the overarching Warhammer 40,000 narrative forward.

Big Summer Warhammer Preview, set for this Friday, July 18, will contain reveals for Games Workshop’s main tabletop games, including Age of Sigmar, The Horus Heresy, and of course Warhammer 40,000. Its initially released digital poster for the event did not feature the logo for Black Library, Games Workshop’s in-house book publishing division. However, on July 16, it released a new version of this poster with the Black Library logo added, sparking speculation that fans will get new novel announcements as well.