Sifu: The First Preview

If there’s one thing that developer Sloclap has shown that they have a unique mastery over in the world of video games, it’s martial arts. If 2017’s hand-to-hand-combat-focused open-world RPG, Absolver wasn’t a convincing enough case, their upcoming beat-em-up, Sifu, certainly aims to prove that few do kung-fu better than the Paris based studio. After getting a 30-minute developer-driven demo, I’d find it hard to argue against the point.

Sifu is a game that’s obviously inspired by classic Asian martial arts movies, with its laser focus on being a single outnumbered martial artist facing off against a group of thugs and goons and scraping by not only with your skill, but also your environmental awareness and ingenuity. I know what you’re thinking: “But Mitchell, that’s like… every beat-em-up or action game.” But it’s different here, and it comes down to a couple of key things.

For one, Sifu’s martial arts combat is smooth as butter. Not only are the animations super fluid, but the way strikes flow naturally into parries, which can then transition seamlessly into grabs and throws, perfectly mimics the style of a classic kung-fu movie. Even more importantly, though, is the role that the environment plays in combat, which we’ll get to in a bit.

Sifu’s martial arts combat is smooth as butter.

On a fundamental level, Sifu’s combat very quickly brings to mind the Batman Arkham games and most specifically, Sleeping Dogs, but there are some key differences. For one, at its core is a structure meter that governs both your own and your opponents’ ability to block. By continuously landing attacks, you’ll deplete their structure meter, eventually opening them up to a takedown or execution. The same is true for you as well. Block too often, and your meter will decrease until eventually your guard is opened up. You can parry by timing a block just as an opponent strikes, which will stun and open them up for strikes or a directional throw. You can throw enemies into walls, down stairs, through guardrails, over railings, and so on and so forth, making it a vital technique. There’s also a focus gauge that allows you to slow down time and target specific body parts that each cause a different effect when hit.

There’s a ton of destructibility in play as well. In one part, the player was picked up and slammed through a partition, which then allowed him to pick up a wooden piece of it and use it as a weapon. Bottles can also be picked up and thrown, and even objects on the floor like ottomans can be kicked towards enemies to knock them off their feet. Despite it being a developer-led hands-off demonstration, the combat still managed to have a very improvised look to it, with the player having multiple options to deal with enemies at any time.

What really struck me the most about the combat, though, was how contextual and reactive everything was. By positioning himself next to a counter and luring the enemy in, the player was able to dodge a strike, and then slam the enemy’s head into the counter for a quick knockout; pieces of furniture will get destroyed as combatants get knocked through them; bad guys will either surrender as you take out their friends, or become enraged and become even more dangerous when they’re the last one left. I saw a lot of fighting over the course of the demonstration, and yet every scrap had a unique feel to it thanks to the unique placements of objects, hazards, and how the player was able to turn a bad situation around by using the environment to their advantage.

The demonstration also touched briefly upon unlockable skills and upgrades, which can be purchased from shrines, but what’s interesting is that your upgrades and skills are lost upon death, which almost moves Sifu into a roguelite territory. But I wouldn’t go that far, as the randomization elements that are key to that genre don’t seem to be present in Sifu. There is, however, that element of single-run progression versus permanent progression. Instead of spreading your points out and buying a bunch of skills to help you in your current run, you could instead opt to pool the points into one skill and work towards unlocking it as a permanent upgrade that persists on all future runs. It’s an interesting choice and I’m curious to see how else the roguelike elements manifest and develop over the course of the game.

I was impressed by virtually everything I saw of Sifu. The combat looks exquisite, the roguelite elements are intriguing, and the ways in which it brings to mind classic asian martial arts movies should be exciting to any fan of the genre. Sifu releases on February 22, 2022 for PS4/PS5 and PC.

Mitchell Saltzman is an editorial producer at IGN. You can find him on twitter @JurassicRabbit

Ubisoft Promotes 20-Year Veteran To Chief Creative Role Amid Frat House Reports

Following reports about Ubisoft’s alleged toxic, frat house culture, the French publisher has announced the appointment of a new Chief Creative Officer who will be responsible for working with the company’s studios to “include diverse perspectives and sensibilities.” However, a Ubisoft workers’ advocacy group has expressed some concerns.

Igor Manceau, a 20-year veteran at Ubisoft who most recently worked as creative director on Riders Republic, will be the new Chief Creative Officer, reporting to CEO Yves Guillemot. Manceau will also join Ubisoft’s Executive Committee.

Serge Hascoet was Ubisoft’s previous Chief Creative Officer. He was called out for abusing his significant influence over staff and encouraging a toxic work environment. Guillemot stepped into the role in the interim.

The Chief Creative Officer role is a big and important one at Ubisoft. The publisher said Manceau will be in charge of “defining and nurturing Ubisoft’s overall creative vision and guiding the creative direction of its games so that they are accessible, irresistible, and enriching for all players.”

“Manceau will work closely with stakeholders in all the company’s studios to include diverse perspectives and sensibilities that will feed the creative spirit of the group,” Ubisoft said.

Manceau will work closely with Ubisoft’s Chief Studios Operating Officer, Virginie Haas, and Chief Portfolio Officer Sandrine Caloiaro in his new role. They will work together to “organically grow Ubisoft’s owned franchises and identify opportunities to create new titles that can succeed in new or emerging game genres.”

Regarding Manceau’s own personal journey at Ubisoft, he started with the company in 1998 on the business marketing team before getting promoted to director of editorial marketing for Ubisoft’s Montreal studio in 2003. In 2006, he moved to a new team that came up with concepts for casual games and then he became a creative consultant on the Assassin’s Creed series, among others. He moved to Ubisoft Annecy in 2014 to become the creative director on Steep and held the same role for Annecy’s Riders Republic, which releases in October.

“It is a real honor for me to lead and support the passionate and incredibly talented group of people responsible for the creative direction of Ubisoft’s games,” Manceau said in a statement. “We have some of the best creative minds in the industry at Ubisoft, and I’m looking forward to partnering with them to increase our games’ focus on innovation, quality and differentiation, so that we’re continuing to deliver truly memorable, entertaining, and enriching experiences for our players.”

Guillemot said Manceau is “one of the most experienced, innovative, and well-respected creative directors at Ubisoft and in the video game industry at large.”

A Ubisoft workers’ advocacy group, A Better Ubisoft, responded to the news of Manceau getting promoted. The group said it looks forward to working with Manceau to promote change, but it also acknowledged the “shocking lack of diversity” among Ubisoft’s executive teams. “Currently, as it stands, the creative team at Ubisoft is comprised of white people who are of uniform cultural backgrounds.” You can read the full statement below.

The Matrix Resurrections Trailer Breakdown: Every Easter Egg, Reference, And Thing We Learned

LEGO Super Mario 64 Playset Revealed

LEGO has revealed a new Super Mario 64 playset that takes the form of one of the game’s iconic Question Mark blocks, with a hidden secret centre.

Announced on LEGO’s website, the new playset is a fold-out version of Super Mario 64’s famous Question Mark block. When opened up, fans will find four distinct levels from the game: Peach’s Castle, Bob-omb Battlefield, Cool Cool Mountain, and Lethal Lava Trouble. The set weighs in at 2064 pieces with both the block itself and each of its levels buildable.

In addition to the various Mario stages within the set, there are also microfigures of different characters from across the game that can be placed around the set. A number of them can be seen in the playset’s official trailer, including Mario, Princess Peach, King Bob-omb, and a selection of Cool Cool Mountain’s penguins.

Pablo Gonzalez, Senior Designer at the LEGO Group spoke further about the set and why its inclusion within the wider Mario LEGO collaboration felt important to the company. “It’s difficult to imagine the Super Mario Universe without the classic game’s iconic levels full of discovery and secrets. With this amazing set, we’re building on the exciting play experience of LEGO Super Mario, both to bring a bit of nostalgia for those who played the Super Mario 64 video game, but also to introduce these wonderful levels to a whole new audience of Super Mario fans.”

The new set is the latest in a number of sets created in a partnership between Nintendo and LEGO. Previous releases in the series have included LEGO’s own take on Bowser’s iconic Airship. The collaboration also produced an interesting take on a LEGO-based co-op mode when the Luigi Starter Set launched earlier this year.

Fans will be able to get their hands on the upcoming Question Mark Block set from official LEGO retailers and the LEGO website when it releases on October 1. The set will then become available at other stores around the world in 2022. LEGO has set a recommended retail price for the set at 169.99 USD/EUR.

Jared Moore is a freelance writer for IGN. You can follow him on Twitter.

The Matrix Resurrections Seems to Know Which Matrix Movie People Like Best

The Matrix Resurrections has revealed its first trailer, and if there’s one major takeaway, it’s that the fourth installment in the series seems to be riffing a lot on the original.

Released today, the new trailer introduces us to an older, seemingly amnesia-stricken Neo (Keanu Reeves), living on a diet of bad dreams and blue pills. He meets Carrie-Anne Moss’ Trinity, who half-recognises him, as well as what seems to be a younger version of Morpheus, played by Yahya Abdul-Mateen II. And, of course, there’s a whole heap of bullets and balletic martial arts. Check out the trailer below:

What’s notable about the trailer is how many references – big and small – there are to the first Matrix movie in particular. Aside from the red pill-blue pill motif, we see white rabbit tattoos, liquid mirrors, black cats, stopping bullets in place, and what seems to be a fight between Reeves and Abdul-Mateen that takes place in the sparring program where Neo and Morpheus originally trained. Even the way Abdul-Mateen’s character casually fires two submachine guns in separate directions harks back to Neo doing the same in the original Lobby Fight scene.

It’s perhaps no surprise that, after this long away, the latest Matrix would invoke the memory of the first. Two decades later, the 1999 original is heralded as a classic but its sequels, Reloaded and Revolutions, are looked back on less fondly overall. While this could simply be a tactic for the film’s first trailer, invoking nostalgia alongside excitement, it’s possible Resurrections is taking something of a Force Awakens approach, purposely riffing on the original film’s events – the title of this movie alone makes that feel fairly possible.

We’ll find out for sure where the movie hits theaters on December 22. For now, we’ve pieced together everything we’ve learned from the Matrix Resurrections teaser website. Someone’s even reverse engineered the site to let you choose what teaser you watch.

Joe Skrebels is IGN’s Executive Editor of News. Follow him on Twitter. Have a tip for us? Want to discuss a possible story? Please send an email to [email protected].

The Matrix Resurrections Trailer Contains Mind-Warping Visuals And Keanu Reeves Looking Like John Wick

After a very long wait, the trailer for The Matrix 4, now known as The Maxtrix Resurrections, is finally here. Coming to theaters and HBO Max on December 22, the new movie features a couple of your favorite characters from the series, alongside some new additions.

The trailer opens up with Neo, who is now Thomas Anderson, talking to a therapist, played by Neil Patrick Harris. Neo has been having dreams–more like flashbacks–to moments where he was unplugged and visions of the Matrix coding as well. In the real world, Neo seems bored and stuck in a rut. However, that changes when he meets Trinity (Carrie-Anne Moss), but the two don’t realize their history together. Watch the trailer for yourself below.

There sure are a lot of blue pills in this. From what it seems like in the trailer, The Matrix Resurrections may be about Neo reconnecting with who he truly is–The One–and getting unplugged once again, unless this Neo is simply a computer program whose had most of his memories wiped. It’s very hard to tell, as most of the footage from the trailer probably doesn’t tell the full story for the movie, though there could be an unexpected connection.

Of course, Reeves is sporting what’s now his signature long hair, which makes him look a bit like John Wick. The Matrix Resurrections will have another connection to that series by way of John Wick directors Chad Stahelski and David Leitch, who will both be helping director Lana Wachowski choreograph the fight sequences. Both men worked on the Matrix trilogy in the past, and Stahelski was Neo’s stunt double in the first film.

The new additions to the franchise include Priyanka Chopra (Baywatch), Jessica Henwick (Love and Monsters), Danial Bernhardt (John Wick), and Yahya Abdul-Mateen II (Watchmen).

The Matrix Resurrections will be available on HBO Max and in theaters on December 22.

Amazon Announces Plans To Make Luna Streaming Services Better With Family, Retro Channels And More

Amazon Luna was released one year ago, and the retail giant continues to support and improve the streaming platform based on player feedback. Today, the company acknowledged that it “learned so much” from subscribers so far, and with their feedback in mind, plans to “make Luna even better” by expanding it to more devices, with more games.

Starting now, Fire table owners in the US can start streaming games. All they need is a compatible Fire tablet and the Luna app. The games support touch screen controls as well as the Luna controller or any supported gamepad.

One of the new channels launching today is the Family Channel, which offers a “carefully curated” group of 35+ games that are appropriate for younger players. The channel costs $3/month and includes titles like SpongeBob Squarepants: Battle for Bikini Bottom – Rehydrated, Garfield Kart: Furious Racing, and Transformers: Battlegrounds. Skatebird will come to the channel later this month.

Amazon also announced that Far Cry 6 (October 7) and Riders Republic (October 280 will launch day and date on Amazon Luna in October, while Rainbow Six Extraction will come to Luna early next year. These games are part of the Ubisoft+ Channel, and everyone who signs up by September 29 can lock in at the existing $15/month price before the cost goes up to $18/month on September 30.

Looking ahead, Amazon said it will launch a “retro-gaming” focused channel “soon” with games from Atari and SNK, among others. Some of the games in the channel will include Another World, Dragon’s Lair, and King of Fighters.

Another big announcement is a new co-op feature for Amazon Luna. The new Luna Couch option lets you play games like Team Sonic Racing and Overcooked 2 (among others) cooperatively even if you’re not in the same room. Perhaps the most exciting part of this is that only the host needs to be a Luna subscriber–the guest can play for free. The host creates a game session, which generates a Luna Couch code that a friend can use.

Amazon also announced that all Amazon Prime members in the US can play four games on Luna at no cost for the next week (September 9-15), including Resident Evil 7, Metro Exodus, Katamari Damacy Reroll, and Monster Boy and the Cursed Kingdom. Prime subscribers can already request an Early Access invite for Luna, but now they can simply jump in through the Luna website.

Finally, Amazon announced a new bundle that comes with a Fire TV Stick 4K Max and the Luna Controller for $99 USD.

Life Is Strange: True Colors Review — More Than A Feeling

For six years, the Life Is Strange series has consistently told stories about the ties that bind us, between friends, families, and communities. The latest entry, True Colors, represents the first time subtext becomes not just text, but the game’s core mechanic. The strength of Life Is Strange as a series is how it always seeks to answers the deeper questions about why people are the way they are, but even compared to the original Life is Strange protagonist Max Caulfield seeking to untangle her best friend’s life, or Sean and Daniel Diaz of Life is Strange 2 being at the mercy of an increasingly merciless America, True Colors drills deeper. It features a new hero who can delve into peoples’ lives on a level beyond the capabilities of the series’ other protagonists. That ability lets the game traverse some new, fascinating territory for this series, but it’s still a bit too bashful about staying there for too long..

You play as Alex Chen, a child of the foster care system who was separated from her big brother Gabe when she was 10. She bounced from family to facility and back again for over a decade before, finally, Gabe tracked her down and invited her to his new home of Haven Springs, an idyllic little village in Colorado. While it’s seemingly a peaceful-enough place to start a life, Alex is helpless when it comes to her big secret and the game’s supernatural hook: Alex is a superpowered empath who is not only able to see and read peoples’ emotions as giant bursts of psychedelic colors, but if the emotion is strong enough, she will actually inherit it. Unfortunately, the foster care system not exactly being the happiest place on earth means Alex finds herself consumed by crippling depressive episodes and extreme fits of rage beyond her control.

And so, as Alex begins her new life, Haven Springs starts to rub off on her, in more ways than one. When a major tragedy strikes the town, keeping the peace becomes an imperative, and it’s about protecting herself just as much as it is about protecting the town. For the most part, True Colors operates the same way as every other Life Is Strange title: As Alex, you walk around and interact with everything and everyone the game will allow you to, occasionally making crucial, life-changing choices through dialogue that affect the world and the course of the story. On the technical level, there are a few marked improvements over past games in the series, especially in terms of visuals. This is the most gorgeous and lush Life is Strange game, with a huge, impressive improvement to the character performances, though it comes at a price. The PS5 port we tested took some heavy hits in frame rate when wandering around the town and stuttered elsewhere. The PC port handled much better, but even there, keeping up with the workload isn’t easy on the computer.

Mechanically, though, there’s one major addition: There will frequently be the option for Alex to use her powers and read the true emotions from a person’s mind, or feel the emotional attachments and memories associated with an object in the environment. At its most benign and hilarious, Alex can see someone having an outwardly civil phone conversation with a customer service rep, only to use her power to hear them internally having an absolute toddler tantrum. At its most harrowing, Alex can read a scared child, only to see the fear physically manifest as a fire-breathing abyssal maw, ready to swallow the child whole at any moment. It allows True Colors to play around with visuals in a way we haven’t seen, and on PS5, there’s a thoughtful use of the DualSense’s haptics that adds another nice layer of immersion to how much of an effect Alex’s powers are having on her.

It would be all too easy to make Alex’s life a screaming hellscape, with her unable to hide from humanity’s worst and most primal instincts, but thankfully, True Colors shows more restraint than that. The vibe is more of a “life comes at you fast” approach where heartache and disappointment creep up and sideswipe Alex rather than flooding over her at all times. The restraint makes the moments where darkness and negativity do pervade land much better. But, for long stretches, the pendulum almost swings too far in the other direction. True Colors is almost too kind as a narrative. Every single character and NPC has a baseline niceness that, while comfortable and soothing, borders on disingenuous given the grim emotional stakes. There’s a Gilmore Girls-y vibe to the whole thing; even most of the bastards have their charms, and there aren’t a lot of bastards to begin with. The other Life Is Strange games–even Dontnod’s Tell Me Why–were more balanced in that regard.

There is still, however, a pitch-black undercurrent to the game, asking big questions about sickness, death, grief, parenting, relationships, and what it costs to empathize with or forgive the monsters who threaten us. Where the game is most impressive is in asking questions that don’t have easy answers, and it does recognize that in the spots where it counts the most. One of the most harrowing moments in the game involves Alex comforting a mother who’s lost the love of her life, a man who eagerly wanted to be stepfather to her child. The resolution ends up in an unexpected place, with Alex reading the woman’s emotions and discovering she secretly resents her child for robbing her of her agency. Even more impressive is the fact that this is not a scenario with an easy solution. Alex using her powers to influence the situation ends up backfiring in a huge way later. This is a problem that Alex cannot solve, and she has to figure out the best way to offer herself and her support to the mother. There are a few situations in the game that maintain that level of maturity, and its final chapter is absolute perfection in that regard: an incredible, ambitious sequence of abstract storytelling, flashbacks, flash-forwards, creepy hallucinations, and beautiful catharsis. But by and large, the game settles for being syrupy sweet and heartfelt. It’s a town where the local Nextdoor equivalent is a quirky place populated by residents telling good-natured in-jokes, the local bar is full of awkward couples who are all nice to their servers, landlords willingly defer rent while a tenant is bereaved, and the local cop is a kindly schlub.

Haven Springs is a lovely place to visit, especially nowadays. These are people who deserve to have an empath in their midst, helping them process their negativity and fear into something healthier, and it’s a perfect place for Alex to truly come into her own as a person. But the feedback loop is a little stilted. With few exceptions, Alex’s immense kindness only comes back to her toward the end of the game. She is essentially the catalyst for anything happening in town. But Alex’s own actualization comes from trauma, when she is utterly alone. The typical video game structure of you, the player, being the only one shouldering the burden for an entire community feels more unfair than usual here, and for a game that so wants us to buy into the idea of Haven Springs as a community, that lopsided generosity comes off as a little awkward. The primary complaint really is that previous games in this series had cynicism that our protagonists had to rise above, and the journey to do so felt like more of a struggle, which is something that Life is Strange: True Colors lacks. Until the climax, Alex’s journey feels low-stakes across the board, even when it arrives at difficult solutions to problems. It’s never in doubt that Alex might persevere and leave Haven Springs better than how she found it.

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There’s merit in that approach, especially given how the other games have ended on such emotionally devastating notes. Alex being able to just purely help, without compromise, feels good in the moment. This is a game full of well-drawn places and characters with depth and stories worth telling, a game of diners and ice cream shops, flower-covered houses, golden sunsets, and blissful spring festivals. It’s a town that puts together an entire town-wide LARP session just for the sake of making one little boy feel better about his life.

There is light that developer Deck Nine just never allows darkness to touch, and there is joy to be had in being able to play some small part in making sure they all do better. But the disconnect between that vibe and the turmoil that brought Alex here to begin with is tangible, and the game would achieve brilliance if those two concerns could connect. Dropping by Haven Springs is still time well-spent–but it’s simply a pleasant visit, rather than a powerful, emotionally resonant one.

GameStop Loses $63 Million, May Team Up With AMC As Stock Price Falls

Video game retailer GameStop, which has become a “meme stock” in recent months thanks in part to Reddit traders, has announced its latest earnings–and it was a mixed bag.

The company made $1.18 billion in revenue, which was up from $942 million in revenue during the same quarter last year. However, GameStop did not post a profit. The company had a loss of $61.6 million, which is an improvement over the company’s loss of $111.3 million for the same period last year.

For the six-month period, meanwhile, GameStop made $2.46 billion in revenue, up from $1.96 billion, and had a loss of $128.4 million, compared to a loss of $277 million during the first half the year prior. The launch of the PS5 and Xbox Series X|S, along with the enduring popularity of the Switch, might have helped GameStop’s revenue in the past year.

Looking deeper into the earnings report, GameStop said it had $1.775 billion in cash on hand, and the bulk of this came from GameStop’s decision in June to issue 5 million shares of common stock, generating $1.1 billion in the process. This money, as announced previously, will be used for corporate purposes and for its growth initiatives.

On an earnings call, GameStop management said it had 4,642 stores globally at the end of the quarter, which is down from the year before due to the retailer’s decision to close stores that amounted to about 9% of its total store count. CEO Matt Furlong appeared on the earnings call, but only spoke for seven minutes to run through the earnings numbers. There was no question-and-answer session with analysts.

GameStop is looking to grow in the future. It recently signed a lease on a 530,000 square-foot fulfillment center in Reno, Nevada, which is expected to be operational in 2022. It adds to GameStop’s 700,000 square foot facility in York, Pennsylvania, which started shipping products during the quarter. When the Reno facility opens, it will give GameStop coverage on both coasts of the US for the first time in the company’s history to help expand its product offerings and speed up shipping.

In the wake of GameStop’s sales report, the company’s stock price dropped by around 7%.

In another development, another so-called “meme stock” that surged earlier this year thanks to Reddit’s WallStreetBets, the movie theater chain AMC, might be cooking up a partnership of some kind with GameStop. CEO Adam Aron told Fox Business that AMC’s new public investors called on AMC to work with GameStop in some capacity, and as a result of this, Aron opened discussions with GameStop.

“We have made contact with GameStop. We are talking. But it’s too early to say what the shape of what some cooperative marketing efforts might be,” Aron said.

No Time To Die Director Says One Character Isn’t Who You Think They Are

No Time to Die director Cary Joji Fukunaga has addressed one popular fan theory about a Bond 25 character.

In an interview with SFX Magazine, Fukunaga dispelled rumors that Rami Malek’s Safin in No Time to Die is a rebooted version of Dr. No, the original Bond baddie from the franchise’s first movie back in 1962, insisting that Safin is, in fact, an all-new villain albeit one that he hopes will have an enduring impact in James Bond’s extensive gallery of rogues.

“Everyone thinks it’s so easy to make these tentpole films, that it’s just formulaic and you just plug-and-play and people are going to show up for the cinema,” Fukunaga explained. “It takes a lot of smart people to create these films, and also to create these characters that will hopefully last. This is a new villain. He’s not, as some have speculated, Dr. No. Hopefully, he’ll be one that is lasting in some way.”

Fukunaga recalled some of the early development meetings he had with Bond producers Barbara Broccoli and Michael G. Wilson to create No Time to Die’s villain and the challenges they faced in coming up with an entirely new antagonist, knowing there’s a possibility that the character could end up being parodied and not taken seriously.

“Making a villain that doesn’t seem laughable, that you can take seriously, where it’s still frightening what they’re attempting to do and why they must be stopped, is more difficult than people actually acknowledge,” Fukunaga admitted. “I remember us sitting around early in the development stage. Barbara and Michael have been doing this for decades and even Barbara admitted, ‘This is really hard!'”

It’s worth noting that a number of fans correctly identified Christoph Waltz’s “Franz Oberhauser” as Bond’s archnemesis Ernest Stavro Blofeld in Spectre before that movie hit theaters in 2015, even though Waltz himself maintained that his character was “definitely not” Blofeld on the lead up to the movie’s release.

Little is known about the mask-wearing Safin, other than the fact that he is a “mysterious villain armed with dangerous new technology,” who may be “007’s most terrifying adversary yet.” All will be revealed when No Time to Die finally hits theaters, with its theatrical release in the UK set for September 30, just ahead of its US release on October 8.

Adele Ankers is a freelance writer for IGN. Follow her on Twitter.