Prior to DC FanDome, there was a lot of secrecy surrounding James Gunn’s The Suicide Squad, primarily who many of the actors were playing–and this film has a massive cast list. Many wondered who WWE wrestler turned actor John Cena would be playing, and it turns out he’ll be a warped version of Marvel’s Captain America… in a DC movie.
Cena will be portraying Peacemaker in 2021’s Suicide Squad movie. This mantle character from DC Comics isn’t exceptionally well known, but he’s the perfect fit for Task Force X. A sneak peek at the movie played during the Suicide Squad panel, which gave us our first look at Peacemaker.
“Be like a douchey Captain America,” Cena says in the video. And that’s essentially what the character is. The mantle of Peacemaker first debuted in The Fightin’ 5 #40 from Charlton Comics in 1966. The character was acquired by DC and later introduced in the Crisis on Infinite Earths story during the ’80s. The first Peacemaker–Christopher Smith–is a violent, unhinged character that wants to bring peace to the world.
“The guy who believes in peace at any cost,” Gunn explains during the video. “No matter how many people he needs to kill along the way.
The character has died and come back from the dead–usually due to reboots at the company–and he’s had two other successors, both equally violent. Considering how large this cast is, does that mean members of Task Force X AKA The Suicide Squad will die during the movie–much like Slipknot did in David Ayer’s 2016 movie?
James Gunn’s Suicide Squad has an almost impossibly massive cast, with names ranging from Viola Davis to John Cena, and it’s been the source of much speculation for fans as they eagerly await news for the upcoming DC movie. Just who, exactly, is playing whom? What sort of insanity does Gunn have up his sleeve? What can possibly be done with a roster that big?
Well, thankfully, DC FanDome presented a simple answer to that question in the form of a roll call. Here is everyone in Gunn’s version of the Squad, and who they’re playing–and just a heads up, some of them are pretty obscure.
Here’s the list:
Viola Davis as Amanda Waller
Joel Kinnaman as Rick Flag
Michael Rooker as Savant
Flula Borg as Javelin
Margot Robbie as Harley Quinn
David Dastmalchian as Polka Dot Man
Daniela Melchior as Ratcatcher 2
Idris Elba as Bloodsport
King Shark as King Shark (motion captured by Steve Agee)
Mayling Ng as Mongal
Peter Capaldi as The Thinker
Alice Braga as SolSoria
Pete Davidson as Blackguard
Nathon Fillion as TDK
Sean Gunn as Weasel
Jai Courtney as Captain Boomerang
John Cena as Peacemaker
In addition to the role call, the FanDome panel also premiered an extended behind the scenes look at the movie, with footage of multiple antiheroes, villains, and heroes in action–yes, even Polka Dot Man, who does, still, apparently, fight with magical polka dots. Give it a watch.
Suicide Squad is currently slated for release in 2021.
It’s hard to imagine how the Arrowverse might top last year’s Crisis on Infinite Earths event, the five-part crossover that brought together not only all of the CW DC superhero shows but also brought in comic nods, DC shows from other networks, and Ezra Miller‘s Barry Allen from the DC film universe.
It was a bit of a coup to get Miller into the crossover for a brief, but iconic, scene with Grant Gustin‘s Barry Allen. However, it showed that the TV universe and film universe could be more connected going forward, and Arrowverse architect Greg Berlanti is definitely open to the idea of having more characters from the film universe find their way to The CW. However, we might have to wait a while before that starts to happen.
“I think truly because of COVID right now and the pandemic, our aspirations aren’t quite as large,” Berlanti said during the Multiverse 101 panel during DC FanDome with DC Chief Creative Officer Jim Lee and DC Films boss Walter Hamada. “We’d just like to start shooting again that we would be happy to invite any feature characters that [Jim Lee and Walter Hamada] would have on.”
The good news is that it seems like Berlanti isn’t the only one open for more collaboration between TV and film, or at least letting more characters into the TV world.
“In the past it’s been like, ‘Well, features might do something with that so stay away from it.’ It could be years before that character ever showed up on the screen, if it even showed up on the screen,” Hamada added in the panel. “It doesn’t make sense to hold that back from fans. Let’s explore that. By the way, if [fans] fall in love with the character in TV and we do something in the movies, three years down the road — all the better! It’s just a greater awareness for the characters.”
It might be a while before we can see this new team spirit in action, though. In normal times, The CW superhero suite would have been back to filming for almost a month now and the creative teams would be gearing up for crossover production to begin in October. However, the COVID-19 pandemic has caused a significant delay in filming and the shows aren’t expected to return to air until the beginning of 2021 at the earliest. Due to the time constraints, it’s still up in the air how this season’s crossover will work and how many TV players will be involved — let alone if it’s possible for film characters to be roped in as well.
Still, Miller’s appearance has opened the door for a lot more crossover possibilities, and we can’t wait to see what that means for the Arrowverse’s future.
The virtual event DC FanDome is doing a deep dive into DC’s multiverse. For example, while Ben Affleck’s portrayal of Batman in Superman v. Batman: Dawn of Justice and Justice League centered around a Bruce Wayne who has worn the cape and cowl for years, Matt Reeves’ The Batman will focus on a Caped Crusader–played by Robert Pattinson–in his early years: the second year of Batman’s existence, and it’s not taking place on the same Earth as other DC movies like Justice League, Wonder Woman, and Aquaman.
“What the multiverse allows you to do is sort of lean into this idea of you can tell just great stories and you don’t have to really be as focused on it, and it has to fit within a singular continuity–on one Earth,” DC films president Walter Hamada explained. “We have the Gal [Gadot] and Jason [Momoa] and Ezra [Miller] version of the Justice League, and we can continue telling those stories. While on a separate Earth, we don’t have to worry about the continuity. We can have a more grounded real year two Batman and build out that world, and not really worry about continuity story elements.
“It’s really kind of the best of both worlds and allows us to take advantage of everything that’s great about what we’ve done, and really allow us to sort of expand moving forward. And we’re trying to keep it as simple as that, like there is that one Earth–the greater Earth–of this existing Justice League, and then the beginnings of another Earth that is sort of happening in its early stages of year two Batman.”
Harada went on to explain there will be outlying movies like Joker, which don’t exist in either of these universes, but are part of the grander multiverse that DC is creating with its movies. However, Reeves does have something in mind when it comes to his universe and Gotham City. “He’s got great plans to how to build it out, and build it out in a way that’s sort of innovative,” Harada continued. “And you know they announced recently that there’s an idea of taking back Gotham and exploring it at HBO Max–a show like [that] are things that you can do because we don’t have to worry about how that would impact Aquaman 2, or how that could impact The Flash, and so I think it just opens doors for us in ways that you couldn’t have if you had to have a singular universe.”
DC FanDome has already had a few big reveals, which include the newest trailer for Wonder Woman 1984, and if you want to learn more about that trailer, check out our breakdown. Additionally, the latest Batman video game Gotham Knights was announced, in which Batman is dead and you play as Batgirl, Nightwing, Red Hood, and Robin. Keep checking back in to GameSpot with more news from the DC virtual event.
The Flash movie has certainly been put through its paces, with multiple directors entering and exiting the project, script changes, and massive delays. However, it would seem that there’s finally a light at the end of the tunnel. The Flash’s DC FanDome panel passed the mic to director (for real this time) Andy Muschietti and screenwriter Christina Hodson (Birds of Prey) to set the record straight and tease what will actually be happening in the final version of the film.
Oh, and they also debuted a brand new look at Barry Allen’s new costume, which, Muschietti explained, was made by Batman himself. Take a look.
The movie will focus on Barry’s ability to travel through time, and manipulate the DC Multiverse, something we’ve already seen glimpses of in the Arrowverse with the Crisis On Infinite Earths event.
Hodson admitted that her love for Barry Allen came from the Flashpoint comics, where Barry’s origin was given a major overhaul. Flashpoint allowed Barry to travel back in time to prevent the murder of his mother, but in doing so critically affected the fabric of the DC multiverse. While the risks are great, Hodson and Miller explained that the Flash movie will represent a massive opportunity for the DCEU to link together all the disparate movies and canons that exist.
“It’s the juxtaposition between his vulnerability and his immense power that is really what’s exciting to me,” Hodson said. Miller then continued, “This film is immensely important because if you look around the DC Universe, obviously we have all these characters that exist within their own bubbles. We even have multiple iterations of the same character. So by opening that door, all of these characters and stories can start to collide.”
Recently we learned that both Ben Affleck and Michael Keaton will be reprising their roles at Batman for the movie–and, with any luck, there will be more announcements to that affect as the DC multiverse continues to grow and change.
Wonder Woman is back in action and facing off against a transformed Cheetah in this new DCEU trailer.
DC’s virtual event, DC FanDome, has officially kicked off with a panel all about the highly anticipated Wonder Woman 1984. The panel brought together the stars of the movie, along with director Patty Jenkins and surprise guest, original Wonder Woman Lynda Carter, to answer fan questions about the movie–but the real highlight of the morning was the new Wonder Woman 1984 trailer.
While it lacked the absolutely choice remix of New Order’s Blue Monday that the first trailer had, it provided all sorts of new information and clues to what we can expect whenever the movie is finally released. Don’t get your hopes up as it won’t be coming direct-to-digital any time soon, according to director Patty Jenkins. We got an up-close and personal look not only at the new design for Kristen Wiig’s Cheetah, but also some hints about Pedro Pascal’s Max Lord, the resurrection of Chris Pine’s Steve Trevor, and what exactly Diana is doing with her time in the 1980s.
So, with that in mind, let’s go scene-by-scene and break down the latest Wonder Woman 1984 trailer. Here are 12 things to pay close attention to as you watch.
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1. The Amazon Games
We learned on our set visit that Diana competing in some Amazonian games is part of the opening of the movie, so it’s appropriate that it’s also the opening of the trailer.
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2. Lightning lasso
This appears to be an extended clip of the most insanely cool moment from the first trailer–Diana using her lasso to swing between bolts of lightning. This probably isn’t terribly significant to the plot, unless Zeus himself is going to show up to help Diana out (and honestly, he might, it’s not impossible)–but either way, it looks amazing.
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3. Max Lord broadcasting
Pedro Pascal’s Maxwell Lord apparently has friends in high places–we see him broadcasting from the White House press room to every screen on Earth, promising that he’s here to “change their lives.” We can assume this is the root of most of the movie’s conflict–everything from Steve Trevor’s miraculous resurrection to Barbara Ann’s transformation into Cheetah (which we’ll talk about it a second) but we’re still left wondering exactly how he’s doing it.
In the comics, Lord has had on-again-off-again brushes with mental powers like mind control and telepathy, but he’s never had anything quite this scale, or this targeted. He’s been a liar and a cheat, but he’s largely the sort of villain to carefully pull strings from the background rather than beam his face out making snake oil promises to the global population. This makes us wonder exactly who, or what, he’s working with, or if he’s even really Maxwell Lord at all.
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4. Steve Trevor back in action
Steve’s return hasn’t been a secret–it was featured heavily in the first trailer and even in promotional images before that. Still, we get even more confirmation here that he’s not a hallucination or a ghost. He’s a real person, returned from the dead, with all his memories of his time in WWI still intact.
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5. Cheetah
Kristen Wiig’s Barbara Ann Minerva has been a little ellusive as far as promotional material is concerned–she was featured briefly in the first trailer, and we’ve seen some images, but that’s about it. Here, however, she takes center stage with her own establishing monologue. She doesn’t want to “be like anyone;” she wants to be “an apex predator.”
That, in conjunction with Lord’s speech about giving people exactly what they want, may lead fans down their own rabbit hole of very plausible theories. Unlike her comic book counterpart who is empowered by a mythical plant god (don’t ask), it would seem Barbara Ann is going to make a bad deal with Lord for all sorts of superpowers–she’s fast, strong, and able to stop Diana’s lasso, just to name a few. It also may have some unintended consequences that we see at the end of the trailer.
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6. Diana and Barbara Ann
Also during our set visit, we learned that Diana and Barbara Ann are both friends and coworkers at the Smithsonian museum. We get some shots here to establish that, all while Barbara Ann narrates her jealousy about Diana’s lot in life. “You’ve always had everything, while people like me have had nothing.”
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7. Fight in the White House
The movie’s Washington DC setting provides some extremely recognizable locations for Diana and Barbara Ann to duke it out. We get to see the two of them going head-to-head in what appears to be the White House. If we had to guess, Diana is coming to take on Lord (remember, he was broadcasting from here at the start of the trailer) and Barbara Ann is here to stop her, after having made some kind of deal with Lord.
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8. Middle Eastern Conflict
We learned in our set visit that a portion of the movie will take place in Cairo, Egypt, and it would seem that’s where these clips are taking place. What could have brought Diana into the middle of a tank battle, however, remains mysterious. Notably, in the comics, there is actually an isolated group of Amazons who broke off from Themyscira living in Egypt in a secret city called Bana-Mighdall. There’s no real hint that we’ll be seeing any of them in this movie–but it’s certainly a good thing to keep in mind.
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9. Barbara Ann and Lord
Even more confirmation of Barbara Ann and Lord’s partnership here–the two of them sharing a heart-to-heart on what we can assume is Lord’s private jet, as well as some exposition from Lord himself. “I’ve never been one for rules,” he says. “The answer is always ‘more.'”
And was it just us or did it look like Barbara Ann was throwing Lord into the side of a delivery truck there for a second? Maybe their deal goes south.
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10. Steve in the Cockpit
We can’t forget that Steve is an ace pilot–though his skills are, understandably, a little antiquated. The real question here is: What exactly drives them to hop into a (apparently hijacked) fighter jet fighter jet and who, exactly, are they running from? It would seem that whatever Diana is doing to stop or interrupt Lord’s plans has put her in the crosshairs of the military–though it’s difficult to say what that will ultimately mean in the end. Remember that Diana still has to somehow completely fade into obscurity and myth by roughly 2016 in time for Batman to force her back into the light.
Unless, of course, we’re just going to forgo that part of continuity and start fresh which, honestly, may be for the better.
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11. Cheetah Transformed
Arguably the biggest moment of the trailer comes at the end, when Barbara Ann’s full Cheetah look is finally revealed. She’s gone full monster here, tail and everything, to clash with Diana in her full golden armor regalia.
Importantly, we can’t tell if this transformation was part of whatever bargain she made with Lord or something else entirely–even Diana asks “Barbara, what did you do?”
In the comics, Barbara Ann’s transformation forces her to crave human flesh–which, probably won’t happen here, but would certainly be pretty cool.
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12. Fashion Show
Okay, sure, there’s probably not a lot of meat here with regard to the actual plot of the movie but who doesn’t love to watch Chris Pine crack jokes and look silly in very ’80s clothing?
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Disclosure: ViacomCBS is GameSpot’s parent company
It’s been over a year since news arrived that Netflix was reportedly developing a live-action Sandman comics adaptation with DC and Warner Bros. TV, and we’ve heard very little about the show since then. However, Sandman series creator Nail Gaiman gave a rare update on the show during DC’s FanDome event.
When discussing the various Sandman adaptations that have been made or attempted over the years–including the well-received Audible drama version that came out this year–Gaiman mentioned the Netflix adaptation in passing, confirming that it’s indeed still in the works, despite the lack of news. That alone was great to hear, given how many movies’ releases and productions have been shut down or delayed due to COVID-19, not to mention the TV shows whose schedules have been upended by the pandemic.
But Gaiman shared more details: He went on to say that, unlike the audio drama, which NPR called “rigidly faithful” to the original books, the Netflix version will be “slightly looser, but still faithful.”
Later during the Sandman panel, Gaiman continued: “We’ve taken advantage of [the COVID-19] pause button just to try and get the scripts as close to perfect as possible,” the author said. “Right now, as the universal pause button is starting to come off, we are starting to cast again, we are starting–I’m getting these inspiring and wonderful emails with production designs, with places that I’ve only ever seen in the comics before now being rendered in 3D, and I’m being asked to comment on it, and that’s amazing.
“What we’re doing with Netflix is saying, ‘OK, It’s still going to start in 1916, but the thing that happens in Sandman 1–the point the story starts–is not 1988, it’s now.’ And how does that change the story? What does that give us? what does that make us have to look at that we wouldn’t have had to look at if we were setting it as a character piece? What is that going to do to the gender of characters…the nature of characters?” He added that it’s been “an absolute delight” to examine the story and characters in a new light while staying faithful to the source material he wrote.
And that’s what we know. It’s easy to assume that, were it not for COVID, we likely would have heard more substantial news about Netflix’s Sandman adaptation by now. Unfortunately, all we currently know is what was included in the original report in 2019: It’s a joint production between Netflix, DC, and Warner Bros. TV; the showrunner at the time was said to be Allan Heinberg, who co-wrote 2017’s Wonder Woman; Gaiman will executive produce, alongside DC veteran David Goyer, whose credits include co-writing Man of Steel and Christopher Nolan’s Batman movies, as well as the TV show Krypton; and it will allegedly be the most expensive DC show ever produced.
DC FanDome, a digital fan convention celebrating all things DC, continues all weekend. Stay tuned to GameSpot for all the news and coverage you need, like the Cheetah reveal in the brand new Wonder Woman 1984 trailer.
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Following its official reveal trailer during DC Fandome, WB Games Montreal has posted an extended gameplay demonstration for Gotham Knights. The demonstration shows off Batgirl’s combat prowess, which is distinctly different from how she, and other characters, played in previous Batman: Arkham games.
The video, narrated by creative director Patrick Redding, takes place about a dozen hours into Batgirl’s progression in the game. Featuring an attack on Elliot Center–where Mr. Freeze has set up shop–it shows off several of the other playable characters in the game, including Red Hood. Freeze has manipulated the weather to actually flash-freeze the city, and it will take everything the young cast of heroes has to take him down.
Batgirl’s agile fighting style allows her to quickly close the gaps on enemies and use their aggression against them. It’s a far cry from the brutal and power-focused style of Batman, and should help to separate her from the other playable characters.
At the very end of the trailer, we get a taste of a boss fight between Mr. Freeze and Batgirl. Robin also joins in the fight, and Redding explained that your experiences against bosses will actually change depending on your level. Different attacks and abilities can pop up if you attempt the fight at level five versus level 20, for instance. However, the walkthrough ends before we could actually see how this would play out. More like Mr. Tease.
Gotham Knights releases on Xbox One, Xbox Series X, PS4, PS5, and PC in 2021.
There’s a scene in The Last of Us Part 2 where, after approaching a workbench and dismantling your gun, you are mauled from behind by a group of rogue assailants. They have the upper hand, having quietly arranged a tactical formation on the dilapidated building’s upper floor–they take cover behind sofas, kitchen counters, and half-open doors. But this shocking scene isn’t all that surprising–or at least it wouldn’t be, if you’d been reading the handwritten notes sporadically dotted across the surrounding town.
The Last of Us Part 2 weaves together a grimdark narrative filled with colour and noise, and yet, it teems with quieter, often untold stories contained within the pages of its virtual journaling. A man loses two sons to a radical religious cult because he was too afraid to leave the safety of their aquarium hideout, and dies sitting in the chair they berated him for never leaving; a parent passes away beneath the crumbling roof of a flooded factory, with medicine he never got to deliver to his sick family; a soldier whiles away his final hours behind the blast doors of a bank vault, dying to protect something that was not his own from a group of thieves seeking to capitalize on the maelstrom induced by the cordyceps outbreak. These are the quieter tales that The Last of Us Part 2’s world is founded upon.
The stories of Ellie, Dina, Abby, and Lev are essential to The Last of Us Part 2’s overarching narrative, but not necessarily to the construction of its wider world. They mirror it in unique ways and react to it at different times with distinct emotional responses, but their tales are likely no more significant than those we don’t play through. This can be said of most stories: Just because Frodo bears the One Ring doesn’t necessarily mean that his particular hardships are greater than those of anybody else–something that is particularly resonant in J.R.R. Tolkein’s Lord of the Rings books, where Saruman returns to destroy The Shire, taking the lives of the nameless and unwritten in the process.
That’s not a failure–storytelling often revolves around a small cast of characters in order to foster emotional investment, without which there are usually no stakes people deem worth reading or playing on for. The Last of Us Part 2 offers a clever solution to this by littering its suburban battlefields with notes and trinkets, adding historical context to places that history has already forgotten.
The best part about this structure is that it’s completely optional. By no means do you have to read about a WLF deserter’s slow descent into religious fundamentalism. It is not essential to learn about Seattle’s many separated families attempting to reunite with one another by leaving trails of letters and heirlooms. However, choosing to invest time into these disparate tales allows you to understand the world of The Last of Us Part 2 in a more intimate way, which, in turn, heightens the stakes for everything precious to Ellie and Abby alike.
This is a world where people fail to save their loved ones despite sacrificing everything for them; where families turn on another for interpreting the creed of a martyred prophet in different ways; where a couple who once had kids and a golden retriever all tucked up in a little house on the prairie become common bandits, out of an odious cocktail of necessity, apathy, and pent-up hatred.
The way in which The Last of Us Part 2 revolves around this is meticulously well-designed. On one hand, people often complain about collectibles in games, stating that they can break immersion and distill tension. This is largely true, and there’s a concrete argument to be made for that in relation to The Last of Us Part 2–I personally gave up on my quest to find every coin and trading card long before the end.
choosing to invest time into these disparate tales allows you to understand the world of The Last of Us Part 2 in a more intimate way
But the other collectibles are different. Whether you’re playing Ellie or Abby, it’s often in your best interest to read the notes withering away in derelict buildings. They could have a safe code scrawled across the bottom, permitting you access to valuable resources that are necessary for the progression of your odyssey across America. Or they could simply inform you of what happened years before you arrived in a place that has been deserted since the note was written–there’s a solid chance you’re the first person to ever read it, and the first person to be able to benefit from its contents as a result.
Once you learn that these notes are inherently intertwined with the landscapes you traverse, everything begins to change. Even when there are no words, The Last of Us Part 2’s environments tell stories of their own.
For example, when Ellie arrives at Hillcrest after having left Dina behind at the theater, you start to discover notes referring to Boris, a person who has gone rogue and decided to go on a rampage around the surrounding area. Shortly afterwards, during a mini cutscene that plays as you attempt to enter a garage leading to the next street, you’re ambushed by a feral Clicker. After you emerge victorious, you’ll notice the bow on its back, accompanied by a full quiver of arrows–this, by implication, is Boris, who eventually fell victim to the cordyceps infection himself, and was probably completely unaware the bow he wreaked havoc with was still attached to his person.
There’s even one section where you come across a partially fenced-off building. The door is barricaded with a dumpster–in some games you might think this is the environment telling you that you can climb on the roof. Or perhaps you’re someone who just beelines towards the next waypoint–it’s a dumpster, who cares?
In actuality, this dumpster is–and if you’ve been paying attention to the environments up until this point, it should be obvious–a cheap substitute for prison bars. When you approach it, you begin to hear the groans–the miserable wailing of the bitten who were confined here to live out their days as hungry, mindless Infected. Once you move the dumpster, their keening reaches a new pitch–this is the first time their meditative melancholy has been interrupted. Being in the know, I put down three trip mines before opening the door and retreating to a safe space.
As they emerged from the darkness of their makeshift cell, feeling the warmth of sunlight for the first time in weeks, or months, or years, I detonated the mines. Cruel, but necessary–I only had two bullets left, and there were dozens of WLF marauders between where I stood and my destination. I went inside, plundered the safe that had been of no use to the infected, and went on my way. As it turns out, there are various notes scattered amid the surrounding buildings alluding to the fact these poor souls had been herded here to live out their days in captivity, but the partially-written tales of misery and woe contained in said notes remain unfinished until you arrive to emphatically finish them–to put the nail in the coffin, so to speak.
It is the tantalizing pull towards exploring every nook and cranny in The Last of Us Part 2 that allows us to learn some of its most intriguing stories
Whether it’s a note written to a lost love, a trinket left for posterity, or a conveniently-placed dumpster, street lamp, or burnt-out-car, there is nothing in The Last of Us Part 2’s environments that is placed without intent. At face value, it may seem as if buildings and landscapes are populated with crafting materials, trading cards, and coins purely to promote exploration and reward you for spending time drinking in the scenery–but there’s more to it than that.
While I agree that some of the more trivial trading cards may purely be the passion of the most intense trophy hunters, it is the tantalizing pull towards exploring every nook and cranny in The Last of Us Part 2 that allows us to learn some of its most intriguing stories. Most are miserable, if not downright harrowing–but every so often, once in tens of notes, there is hope. It may be modest, and it may have since fizzled out, but it’s only after committing to reading the tragedies of countless people that you finally come across that one tale dashed with a slight, but tangible optimism. And that makes the world of The Last of Us Part 2 make sense in a way that the story never explicitly addresses, but absolutely and intentionally accommodates for.
The environmental storytelling of The Last of Us Part 2 isn’t just some optional addendum you undertake to pop a couple of trophies–it’s a collection of distinct esoterica that enriches the entire experience. When you spend time learning about the characters you’ll never meet, or see, or hear about again, you’ll realize that there is humanity yet in this world, and that it’s not something worth fighting for, but something it is necessary to come together for.
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We’re back with more backstory for Cyberpunk 2077 in our fourth entry of our video series exploring the lore of CD Projekt Red’s upcoming first-person RPG. This time around, we’re delving into the history of the wars between the corporations that defined Night City–and there was none more influential than the 4th Corporate War.
In the video above, Jake Dekker briefly details the major rivalries that popped up in the first three corporate wars before launching into an in-depth look at the 4th Corporate War, which occurred roughly 50 years prior to the events of Cyberpunk 2077. Despite taking place half a century before CD Projekt Red’s upcoming game, the 4th Corporate War played a significant role in shaping Night City and the world at large.
For the full scoop on the story, you’ll have to watch the whole video. Come for the interesting lore, stay to hear Jake try to pronounce all of the company names in Cyberpunk’s world, including Internationale Handelsmarine Aketiengesellschaft. It’s pretty funny.
Cyberpunk 2077 is scheduled to release for Xbox One, PS4, and PC on November 19. A version for Google Stadia is set to release later this year as well, and both Xbox Series X and PlayStation 5 next-gen ports are in the works too, though they don’t have an exact release window.
