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The Bearded Ladies Consulting, developer of Mutant Year Zero: Road to Eden, has revealed Farrow, a new fox character for the upcoming X-COM-inspired tactical game. Mutant Year Zero is set for release on PC, PlayStation 4, and Xbox One on December 4, so the new character comes as a last-minute surprise.

Farrow is described as an assassin who specializes in stealth tactics, equipped with gear and skills that give her the ability to move quickly yet silently through a battlezone. She will fight alongside the two previously known characters, the iconic duck, Dux, and the grizzly looking boar, Bormin. Farrow’s skillset will compliment Bormin’s explosive launcher and tank-like defense, as well as Dux’s preference for long-ranged sniper attacks.

Mutant Year Zero’s newest survivor, Farrow the fox.

Mutant Year Zero’s reveal earlier this year struck a chord thanks to its unusual cast, and it was given a bump in the public eye thanks to Microsoft’s recent announcement of its inclusion in the Xbox Game Pass program at XO18.

The Bearded Ladies dev team is made up of former Hitman and Payday developers, and Mutant Year Zero is based on a popular pen and paper RPG from Sweden, simply titled ‘Mutant’. In addition to releasing on Xbox One, the game will also arrive on PC and on PlayStation 4 early next month.

BioShock creator Ken Levine has been relatively quiet since the release of BioShock Infinite in 2013, but he’s still at work on new video game projects. In fact, his latest one is already playable, but he’s only rolling it out among a very select few participants.

In a tweet, Levine told a fan, “We’ve done some friends and family testing but that’s all at this stage.” Friends and family tests are usually conducted relatively early in development. It does mean the game exists in some form of playable state, however.

Levine hasn’t talked much about the direction for his next project. He gave a talk at GDC 2014 about a concept he dubbed “Narrative Legos.” The idea involves distinct storytelling pieces that can be reassembled to make new combinations and in different orders, making a story-driven game that can be replayed endlessly.

He said in an interview in 2016 that he stopped leading BioShock games due to adverse effects on his health and relationships. He said at the time he’s more interested in smaller, experimental games–possibly like the Narrative Legos concept he outlined. Levine still heads up the studio formerly known as Irrational Games, now Ghost Story Games, though it has scaled down significantly since making the BioShock series.

BioShock and BioShock Infinite were both critically acclaimed. “BioShock Infinite isn’t afraid to magnify the way religious and racial extremism inform our culture and change lives,” critic Kevin VanOrd wrote in GameSpot’s BioShock Infinite review. “It isn’t afraid to depict a less-than-holy trinity diseased by power, deception, and manipulation. As the story circles back on itself, you’re left wondering whether redemption cleanses us of our atrocities, or simply invites us to commit greater ones. Once the finale comes, you will want to play again, watching each event and image through the lens of information you can never un-know. BioShock Infinite is more than just a quality game: it’s an important one.”

One of the first images on the screen at the start of Spider-Man: Into The Spider-Verse is an “Approved By The Comics Code Authority” stamp, trailing right behind a glitched out slideshow of different studio logos. It’s a nod that comics history buffs will no doubt appreciate, both as a fun Easter egg, and as a perfect tone setting introduction. This is a comic book movie–not a movie based on characters from comic books. It is literally a comic book turned into a movie, and every single piece, from the character designs to the animation itself, has been designed from the ground up to make that possible. The result is visually stunning and completely unique.

Into the Spider-Verse is the story of Miles Morales (Shameik Moore), a slightly put-upon but otherwise unassuming teenager in Brooklyn who is struggling under the weight of his parents’ lofty expectations. However, during a slightly less-than-legal graffiti excursion with his slightly less-than-reputable Uncle Aaron, Miles’ life is turned upside down when he’s bitten by a dimension-hopping radioactive spider. Dimension-hopping becomes a recurring theme–it’s the basis for the titular “Spider-Verse,” an inadvertent convergence of Spider-people from different universes, brought about by a villain’s scheme. It’s all pretty sci-fi, but never too sci-fi, even for those who are less well versed in comic book science than others–especially not in the same year as Thanos’s snap or Ant-Man’s exploration of the Quantum Realm.

In fact, Into The Spider-Verse’s self awareness of just how over-the-top its own science is makes for some of the most clever gags in the movie. It’s brilliantly playful in introducing a supporting cast of various alternate reality Spider-people to the mix, like Nicolas Cage’s Spider-Man Noir, a nazi-punching 1930s detective who is animated in perpetual black and white; John Mulaney’s Spider-Ham, an anthropomorphic pig animated like a Loony Toon; or Hailee Steinfeld’s Gwen Stacy–A.K.A. Spider-Woman–who carves her own path of cool through this film. At one point, Miles points out that Noir’s constant rain-slicked, windblown look makes no sense–they’re inside–but Noir shrugs and says that “wherever I go, the wind follows.” And that’s the end of that, even if Miles is practically left looking directly into the camera and contemplating how his life has gone so far off the rails.

The entire movie oozes this same sort of style. It’s an explosion of color–part motion comic, part music video, part traditional animation–with a driving, almost frantic energy that carries every scene. There are montages that pluck real life comic covers off the shelves, word balloons splashed on screen to represent internal monologues, benday dots smearing over shadows to convey depth–really, you name it. There seems to have been no limit to the aesthetic experimentation allowed here, and the end result is an animation style that feels completely and totally new. It may take some getting used to for the purists out there, but by the second act even the weirdest visual quirks manage to level themselves out and become totally endearing.

Somehow even more endearing is the relationship between Miles and Peter Parker (Jake Johnson)–not the Peter of Miles’ Earth, but one from an alternate dimension who is a little past his prime. Peter becomes Miles’ unwilling mentor, which builds into as many laugh-out-loud gags as it does genuinely touching moments. Sure, this Pete may be a decade or so away from the youthful exuberance of someone like, say, Tom Holland, but that doesn’t make him any less familiar–in fact, it really only makes him even more relatable for the twenty and thirty something crowd.

Searching is a gripping mystery, where almost all of the film take places on the main character–David Kim’s–laptop. It’s very serious and intense, but if you go back an pay close attention to everything in the film, you’ll learn the Earth is about to be invaded by aliens.

A special feature in which writer/director Aneesh Chaganty and writer Sev Ohanian discuss the Easter egg is hidden in the main menu of movie. This completely spoils the end of the movie, but we won’t do that here. To find it, you’ll have to highlight “Languages,” then press up to highlight a folder on the desktop with a question mark on it. That’s where this Easter egg special feature is located.

Towards the end of the feature, it’s explained that throughout the movie, there’s a subplot about an alien invasion on Earth. There is a moment when Kim (John Cho) is on YouTube and there’s a video called “Real Footage of alien sighting at Sequoia 5/14/17,” which at first, doesn’t seem too out of the ordinary because YouTube has plenty of videos like that. However, from there, it gets a bit more weird.

Still early on in the movie, there are news articles from NASA about electromagnetic anomalies, people from NASA are murdered, and the President is going to address it all, including extra-terrestrial life on Earth. So while Kim is trying to find his daughter, the world is on the brink of an alien invasion. However, this secret subplot is never resolved, so it’s up to the viewer to guess where it goes. I’m guessing everyone in the movie has been replaced by aliens.

Chaganty and Ohanian only discussed a few of these alien invasion Easter eggs. However, they said there is a reference to this subplot in the background of almost every scene, which will make you want to go back and hunt for them all. The extensive planning needed to pull this off in an already complicated film is outstanding.

Additionally, this special feature goes over around 10 of the Easter eggs within the film, which completely spoil the movie; however, there are around 500 of them scattered everywhere, in every scene, and we only caught a few when the movie first came out. It greatly enhances the rewatchability of the movie, just to see if you can spot any other insane subplots.

Searching is available now both digitally and on DVD and Blu-ray.