Cyberpunk 2077’s Updated Female Protagonist Is Now an Incredible Figurine

Cyberpunk 2077’s updated female protagonist is getting a new figurine from Pure Arts. The figure reflects the female protagonist’s updated look that CD Projekt Red shared earlier this month.

The figure, which is set to release in September, includes a light up jacket and high platform shoes. Preorders are open now, and the figure will run you $229.00 USD.

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The new feminine version of V has brighter red hair, pierced ears, and some minor changes to her face. CD Projekt Red also confirmed that the new-look V will be on the flipside of the reversible box art.

Pure Arts is also offering a figure of the male version of V, which features Mantis Blades, a light up jacket, and an extremely detailed pair of light up shoes.

Check out images of the figures below:

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Cyberpunk 2077 is set to release on September 17, 2020. CD Projekt Red recently confirmed that the development is still on track to hit that release date, even as developers work from home due to the COVID-19 outbreak.

Cyberpunk isn’t even out yet, but we’ve already learned that CD Projekt Red plans to develop a new game set in the world of the Witcher after Cyberpunk 2077 releases.

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Logan Plant is a news writer for IGN, and the Production Assistant for Nintendo Voice Chat, IGN’s weekly Nintendo show. You can find him on Twitter at @LoganJPlant.

Sega Celebrates 60th Anniversary With New Timeline Website

With a rich history in gaming, Sega is celebrating its 60th anniversary with a new timeline website that chronicles its journey as a company and its history in the gaming industry. For its 60th anniversary, Sega also introduced a new website and ambassador called Sega Shiro (Segata Sanshiro) who’s played by the actor Hiroshi Fujioka.

The new website will take fans through the past six decades of Sega history, including the story of its founding, the launch of various consoles and IPs, and much more.

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The Sega timeline starts in the 1960s with the founding of Nihon Goraku Bussan Co., Ltd, which would later become Sega. According to the timeline, Sega first got started in the gaming industry in 1964, when it began producing commercial arcade equipment.

In 1983, Sega released its first home gaming console, the SG-1000. Costing ¥15,000 ($134 USD). the console released in Japan the same day as Nintendo’s Famicom, and ended up selling 160,000 units in its first year, far exceeding Sega’s expectations and officially marking its interest in the home console market.

In 1988, Sega released the Mega Drive in Japan, better known as the Sega Genesis in the United States. The Genesis saw the first release of Sega’s most iconic character, Sonic the Hedgehog, and solidified the companies name in the gaming industry, selling over 15 million units in North America alone.

In what most consider to be the peak of Sega, the 1990s saw the release of multiple Sonic games and two new consoles, the Sega Saturn (1994) and the Dreamcast (1998). While the Dreamcast turned out to be Sega’s final home game console, the company had quite the battle with Nintendo in the ’90s, which has since been dubbed “the console wars.”

In the 2000’s Sega’s story mostly revolved around new IPs like Phantasy Star Online (2000), Yakuza (2005), and much more. Additionally, Sega also manufactured a variety of tech products like HomeStar, the world’s first optical projection home planetarium

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Recently, Sega oversaw the release of the Sonic the Hedgehog movie, which came to theaters earlier this year. The film was received quite well in the box offices, becoming the best showing of all time for a video game movie. Be sure to check out our official Sonic movie review as well as reviews from various IGN staff members.

If you’re interested in learning more about Sega, be sure to check out our deep dive into the history of Sega.

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Andrew Smith is a freelance contributor with IGN. Follow him on Twitter @_andrewtsmith.

Former Marvel Writer Throws Shade at Publisher for ‘Mandated Inhumans Story’

For years, X-Men fans accused Marvel Comics of attempting to downplay the merry mutants in favor of the Inhumans. Now former Marvel writer Rick Remender has lent fuel to that fire, revealing he abandoned plans to write Marvel’s flagship X-Men title back in 2014 because of a “mandated Inhumans story.”

Remender has been very active on Twitter in recent days, posting glimpses of various Marvel and DC pitches that never came to be. Among those is a “story bible” he put together for Extraordinary X-Men, a 2015 comic that ultimately wound up in the hands of writer Jeff Lemire and artist Humberto Ramos instead. Remender reveals he had crafted a two-year plan for the franchise, one which would have hinged on psychic mutants Fantomex, Professor Xavier, Jean Grey and Mastermind.

Remender writes, “Just found my entire 2 year X-bible plans from when I was going to take over the X books. Haven’t opened it since I quit in 2014. Was very Fantomex, Jean, and Professor X-orn centric. Big bad was Mastermind. Just couldn’t make myself do the mandated Inhumans story. c’est la vie.”

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Remender’s tweet is a rare, open acknowledgement of creative tensions behind the scenes as Marvel worked to elevate the Inhumans franchise in the wake of 2013’s Infinity, a story which culminated with the creation of a Terrigen cloud that simultaneously created new Inhumans and poisoned mutants, radically altering the course of both franchises. That story eventually led to 2017’s Inhumans vs. X-Men crossover.

Understandably, Marvel has never outright admitted to downplaying the X-Men in favor of the Inhumans, but it’s been widely assumed the company was prioritizing a franchise to which it fully owned the multimedia rights, as opposed to one whose rights were still in the hands of 21st Century Fox at the time. Marvel’s Executive Editor Tom Brevoort effectively said as much when he wrote in 2014, “If you had two things, and on one you earned 100% of the revenues from the efforts that you put into making it, and the other you earned a much smaller percentage for the same amount of time and effort, you’d be more likely to concentrate more heavily on the first, wouldn’t you?”

Coupled with an established pattern of Marvel downplaying the X-Men and Fantastic Four in its merchandising, many readers were unhappy with the way the X-Men seemed to be sidelined in favor of the Inhumans. Remender’s tweet suggests at least some Marvel creators felt the same way.

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Remender also revealed he was again offered the keys to the X-Men kingdom as recently as 2019, indicating Marvel may have been exploring other options besides Jonathan Hickman’s Dawn of X relaunch. But Remender reiterated his disinterest in returning to Marvel, tweeting, “Was offered the X books again last year but declined. Don’t imagine there’s a world where I’ll put myself through that again.”

Remender’s Twitter feed is currently a treasure trove of concept art and other unused story pitches. He also posted a rejected pitch for a Spider-Man story called Pandora’s Box, which would have dealt with a new group of insect-themed villains created through the same process that gave Peter Parker his powers. Remender even revealed he and American Vampire artist Rafael Albuquerque once pitched a DC series called Justice League of Tomorrow, built around a futuristic team that includes Superman, Sandman, Firestorm, Poison Ivy, Negative Man, Hawkgirl, Captain Blackhawk and the Atom.

Justice League of Tomorrow concept art by Rafael Albuquerque
Justice League of Tomorrow concept art by Rafael Albuquerque

What do you think of Remender’s abandoned X-Men pitch? Let us know in the comments below.

For more on the current state of the X-Men franchise, find out how Dawn of X has radically changed the X-Men status quo and what to expect from the next big X-Men crossover, X of Swords.

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Jesse is a mild-mannered staff writer for IGN. Allow him to lend a machete to your intellectual thicket by following @jschedeen on Twitter.

Doctor Who: The Doctor Herself Offers Coronavirus Advice

The BBC has shared an “emergency transmission” from Jodie Whittaker’s Doctor Who in response to the coronavirus (COVID-19) pandemic.

The short video, posted to the official Doctor Who Twitter account on Wednesday, sees Whittaker transform into the Time Lord to offer five tips on ways to cope with “any worrying situation,” as her beloved TV character reveals she is “self-isolating” while “hiding from an army of Sontarans.”

“One: Remember, you will get through this and things will be alright, even if they look uncertain. Even if you’re worried, darkness never prevails,” she reassures viewers. “Two: Tell jokes – even bad ones. Especially bad ones. I am brilliant at bad ones. Three: Be kind. Even kinder than you were yesterday. And I know you were super kind yesterday.

“Look out for each other. You won’t be the only one worried. Talking will help, sharing will help. Look out for your friends, your neighbours, people you hardly know. And family. Because in the end we’re all family. Four: Listen to science. And listen to doctors, right? They’ve got your back. Five: Stay strong, stay positive. You’ve got this. And I will see you very soon.”

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This special message comes as more cities join the USA in following the lead of many in Europe with mandatory lockdowns. San Francisco and Los Angeles, California both announced lockdowns that include mandatory work-from-home policies and shutting down high-risk gathering spaces.

Doctor Who costume designer Ray Holman tweeted shortly after the video was posted online to confirm that Whittaker had access to her costume at home “for personal appearances or publicity purposes,” as he assured fans that the clip was recorded “in isolation” and had been organised by the actress, showrunner Chris Chibnall and executive producer Matt Strevens.

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Doctor Who Season 12 premiered in January of this year and concluded in the opening days of March with the history-shattering season finale, “The Timeless Children.” According to reports, Season 13 is planned to start filming in September, though this date could yet change in light of ongoing developments resulting from the coronavirus outbreak.

For a list of recommendations on how best to help, and stay safe, during the Coronavirus pandemic, please read our resource guide.

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Adele Ankers is a Freelance Entertainment Journalist. You can reach her on Twitter.

Steam Has Two Amazing Bundles Full Of Great Games Right Now

PC game bundles are a great way to get a collection of awesome games in one nice and easy package. Most bundles usually come from sites like Humble Bundle, but this week, Steam has two of the best collections we’ve seen in quite some time. The Polish Spring Festival and Dark Cult bundles collect some excellent games from recent years, which span genres from strategy and survival to action and horror, and if you’re looking for some games to keep you occupied while you’re stuck inside, it doesn’t get much better than this.

The Polish Spring Festival bundle is $60.32, down from $109.95, and contains nine Polish-developed games, many of which have received great reviews from GameSpot. Frostpunk, This War of Mine, Darkwood, Superhot, Get Even, and Observer were all praised in GameSpot’s reviews of said games, while Wanderlust Travel Stories, My Memory of Us, and We. The Revolution all boast positive user ratings on Steam. If you already own any of these games, then the price of the bundle decreases.

The Dark Cult bundle, on the other hand, contains games that involve–you guessed it–dark cults, some of which were reviewed positively in our reviews. Many of the games also involve survival-horror themes. The games you get are Blasphemous, Darkest Dungeon, Outlast 2, The Shrouded Isle, and The Church in the Darkness. The Dark Cult bundle is $36.29, down from $109.95. Just like the previous bundle, the price decreases if you already own some of these games.

Thankfully, if you’re just interested in a couple of the included games, then you can pick them up individually at a discount and save a bit of money. Be sure to double-check that buying the individual games you want is actually cheaper than the bundle though.

If you’re looking for more games for passing the time, then be sure to check out all of the free games you can claim right now.

Polish Spring Festival bundle

$60.32 ($109.95)

The Dark Cult bundle

$60.32 ($202.91)

Now Playing: Frostpunk: A Test Of Strategy And Survival On Pc

GameSpot may get a commission from retail offers.

Opinion: Call of Duty: Warzone’s Loadouts Are A Balance Problem

Call of Duty: Warzone is taking the world by storm. More than 30 million people have jumped into Modern Warfare’s 150 player Battle Royale mode since it launched nearly a fortnight ago, and people are loving it.

I’ve already poured around 30 hours into it, winning games I shouldn’t have, losing others I should, dying early and late and every time in between before escaping from the Gulag. I’ve had a lot of fun in Call of Duty: Warzone – it’s entirely filled the Battle Royale-shaped hole in my life – but there is one element unique to its design that is somewhat troubling to an experienced fan of the genre: it’s Loadout drop crates.

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None of this is to say Infinity Ward shouldn’t strive to leave its own mark on the genre – Battle Royales are regularly defined by their most effective tactics, or “metas”. There’s the building meta in Fortnite, shield management in Apex, which encourages mid-fight looting, and in PUBG the DMR/M4 combo dominates both casual and pro play. That said, the new meta that is emerging in Warzone around Loadouts – which allow players to have custom-created weapon and perk loadouts air-dropped to them – has the potential to reshape – or even completely negate – some of the most important aspects of the Battle Royale experience.

On-Site Procurement

In Warzone, like in most battle royales, the dominant strategy is to acquire your favourite guns and perks as soon as possible after dropping into a match so that you have an effective arsenal as you reach the final showdown. This is known as “the loot phase” and, much like the “laning” phase in MOBAs, eliminating or drastically altering this phase of play can fundamentally change the way a game is played.

Allowing players to walk into Warzone’s final circle with the exact equipment they need – regardless of the game they may have had up until that point – defeats the purpose of the first phase of a battle royale altogether. Finding crates and boxes full of random guns and equipment is a vital component of the genre’s appeal because it directly leads to conflict or, at the very least, offers an exhilarating sense of tension. People feel good when they open a crate and find their favourite gun – but, more importantly, if they don’t see their favourite gun, they’ll typically seek out another crate, which increases the odds that they’ll run into more players as they search.

Warzone’s Loadout drops eliminate the need for this loot phase almost entirely — at least any beyond all three players collecting the requisite $2000 each and finding a buy station (though crates also drop randomly, too). You can pool your cash, and suddenly you and your team are fully kitted out with the best weapons and perks, scavenging and fate be damned – which, of course, manages to further complicate Warzone’s meta.

Balancing Act

Warzone feels like it’s balanced for engagements using the weapons you can find within Verdansk itself — the weapons dropped by in-world loot crates. In the first few hours of the game — before everyone realized Loadout drops were practically mandatory — there was a priority management system in place. If you wanted to be silent, you needed to find specific weapons like the Nursing Death Bizon or Dry Heat P90. If engaging at range was your plan, you’d want a sniper rifle or DMR — ideally a high rarity one that actually had a scope – and if you found the Zip Tie M4 and a Khemical FAL, your only concern was ammo, because you had short to mid-range engagements locked up.

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But Loadout drops introduce a whole swarm of weapons into the loot economy of Warzone that it’s not prepared for or balanced around. The JOKR launcher adds rainable death to player’s secondary slots, usurping a role designed for the Cluster Strike or Airstrike killstreaks, and silencers can be equipped to practically any weapon. Perhaps the biggest shift, though, is that Thermal Imaging Scopes make visible what was previously hidden.

All Battle Royales are information games at heart – information drives positioning, positioning leads to lopsided gunfights and winning gunfights is how you get your Helicopter Ride. And thermal imaging significantly redefines the information aspect of the game, showing (most) players as bright white objects against a dark grey background.

It’s not great that the scope doesn’t show up on any of the weapons native to Warzone, but what’s worse is that the only way to directly combat it is via Loadouts themselves. Cold-blooded is a perk which makes the user invisible to thermals, AI targeting systems and Snapshot Grenades. If you add it to your preferred loadout, snipers with thermal imaging scopes will find it harder to see you. This is commonly referred to in other games as ‘teching’ — using specific items or abilities to deliberately counter the specific abilities of your opponent.

In competitive play, teching is par for the course, and can actually be a fascinating element of the meta-game itself. But Warzone doesn’t currently have a “ranked” mode, meaning there is no competitive play  — which means teching is instead just the absence of player agency. It robs players of choice, forcing them down a particular path — you have no option but to equip perks X, Y, and Z to avoid being more vulnerable, even if you’d rather use others instead. You’re no longer making decisions about your gear as you play — you’re not even really making them about your loadout. A choice between winning and being kicked repeatedly in the crotch is no choice at all.

Thermals aren’t the only thing the Warzone ecosystem has a problem handling, either. Riot Shields are notoriously tricky to deal with, requiring either specific gear or flawless coordination between teammates, and Underbarrel grenade launchers inject either lethal or non-lethal explosives into the economy as effectively a third weapon. In essence, players can ditch their rocket launchers to just use underbarrels instead.

Teching in high-tier competitive play is exciting because it demonstrates mastery of the systems involved, and tournaments require a few dozen matches at most. Having to tech in regular games causes stagnation, when the absence of repetition is the entire reason Battle Royales became so popular in the first place.

Positional Play

When Infinity Ward revealed Modern Warfare’s multiplayer, the team explained that the changes they’d made to the game emphasised a slower pace and ‘positional play’.

To many people, positional play simply means “camping” – but there’s a bit more to it than that. When you’re camping on the objective — that’s positional play. Nobody should be getting mad at you for hanging out around B to defend it from incoming attackers in Domination, because that’s the objective of the mode. Similarly, in Battle Royales, any movement you make which leads to a higher end-game ranking is furthering your objective, so there is no such thing as ‘camping’. There is only “positional play”.

Of course, that doesn’t make it any less frustrating when you get blapped by somebody hiding behind a door and a claymore, or that your best course of action is to do the same. But acquiring a superior position and holding it is literally the aim of a Battle Royale – it widens your path to victory.

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One of the common arguments we’ve heard from people who enjoy Loadouts is the idea that it disrupts the “typical” Battle Royale end-game where everyone in the final circle “camps” until they are finally forced to engage in a fight. In practice, however, Loadouts exacerbate this issue. The players who are bringing thermal-scoped AX-50s into the game the moment they get a collective $6000 together are also setting claymores at every entry point they can. They’re hunkering down until the gas itself forces them to move — and even then, the Overkill perk means they’re switching to a fully-decked out M4 (with a thermal-hybrid scope of its own, naturally) so they can enter the circle with superior firepower.

As we pointed out in our review, you can have a loadout drop inside the first minutes of a round of Warzone. The average game lasts around 20 minutes. That’s a long time for players to engage in positional play, generally by heading to where you think the centre of the circle will be and pitching a tent. Not only do loadouts fail to rectify the “final circle campers” issue — by eliminating the loot phase, they extend it dramatically.

What To Do?

There are a few different ways that Infinity Ward could potentially remedy this Loadout situation. The most drastic solution is to simply remove weapons from loadouts entirely. Loadout drops could still give players perks, and, ideally, players would pick perks based on the weapons the match had offered them thus far. They might select a sneaky perk loadout to accompany their silenced weapons, or a Scavenger-based loadout if they’re rocking the AR/LMG combo.

That said, Loadouts are very “Call of Duty”, and it would be a shame to rob Warzone of that unique flavour. Another alternative could be to restrict Loadouts to “blueprint” weapons. A large number of the guns native to Warzone are based on blueprints — that is, they drop with multiple attachments already installed. Blueprints would allow Infinity Ward to still give players a wide array of excellent weapons while also maintaining the loot phase spirit by not including items like Riot Shields or Thermal Sights.

By the same token, Infinity Ward might simply put together a unique list of attachments that aren’t available in Warzone. The team already restricts the “Specialist” system from the mode, and certain Perks work differently in Warzone than they do in regular multiplayer, so there’s precedent — Infinity Ward doesn’t seem to have a problem altering elements of Modern Warfare to better suit the needs of a given game mode.

However, even if weapons are restricted to blueprints or attachments and shields are banned, the loot phase will still be disrupted by an early influx of superior weaponry.

The other adjustment Warzone needs is to raise the price of Loadout drops in order to heighten the risk/reward stakes. Raising the price to something like $18,000, or making the $6000 drop from a buy station a single-use only, would drive more engagement with the world and other combatants, plus it would help incentivise more players to go for the random drops, especially if random drops were still three-use items. I’ve noticed more and more that players aren’t contesting the random drops at all – the risk is too high compared to directly buying your own. But if purchased loadout drops were more expensive, some players might reassess, and random drops would become a focal point for conflict once again.

The Saga Continues

At the end of the day, the appeal of Battle Royale games is in the stories we get out of them.The genre is built on emergent player-generated narrative, going as far back as DayZ, where players would spend four hours doing nothing while sharing tales of the 10 minutes where something happened.

All great stories need stakes. They need risk, and they need players to experience adversity in order to overcome it. The stories we tell are about succeeding against impossible odds, about the difficulties we face and how we managed to overcome them — not the times we’re given everything and still nearly snatch defeat from the jaws of victory. But Loadouts lower the stakes of each Warzone match, therein lowering the variance in the storytelling.

If loadout drops as they currently exist are going to remain core to the Warzone experience, then I wonder why there remains any loot phase at all. We could just as easily with our ideal loadouts, as the game does in Plunder, and abandon loot entirely beyond cash, armour and utilities. Regardless of how the adjustments manifest, it will be interesting to see how Warzone evolves, both in terms of its own metas and how it fits into the Battle Royale genre as a whole. Without substantial revisions it risks going the way of games like Radical Heights – but, hopefully, it endures to become as unique as its contemporaries rather than just another flash in the Battle Royale pan.

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Joab Gilroy is an Australian freelancer that specialises in competitive online games and chicken dinner acquisition. You can tweet at him here.

Just Cause Studio Teases “Ominous And Dangerous” New Game

Swedish company Avalanche Studios, known for the Just Cause series, has announced a series of changes for 2020, while also teasing a “dangerous and ominous” brand-new game from one of its new divisions.

First off, Avalanche Studios has officially changed its name to Avalanche Studios Group, and the company has a new logo to go along with it (see it below). The company also confirmed it now has three separate creative divisions: Avalanche Studios, Expansive Worlds, and Systemic Reaction.

The new Avalanche Studios Group logo
The new Avalanche Studios Group logo

Avalanche Studios is the team that made the Just Cause series and recently collaborated with Warner Bros. on Mad Max and with Bethesda on Rage 2. Expansive Worlds is the developer of the free-to-play hunting game, The Hunter: Call of the Wild. Systemic Reaction, meanwhile, is a self-publishing brand that previously released the open-world action game Generation Zero.

“Transitioning to Avalanche Studios Group and its three divisions marks the start of a new era,” Avalanche Studios Group CEO Pim Holfve said in a statement. “Although we have expanded to three creative divisions, our singular focus is to bring immersive open world experiences to millions of players around the globe.”

Holfve said that Avalanche Studios Group has “several” games in development across its three divisions. One of these is from Systemic Reaction, and you can check out a teaser trailer below. This game is being developed in Malmo, Sweden, but that’s all Avalanche had to say on the subject.

To celebrate the big changes at Avalanche, the company has discounted all of its games and DLC on Steam, including Rage 2 and Just Cause 4. Avalanche was acquired in 2018 by Nordisk Film.

Avalanche Studios is not to be confused with Avalanche Software, the developer of Disney Infinity until Disney closed the studio and canceled the franchise. Avalanche Software is now owned by Warner Bros. Interactive Entertainment.

GameSpot may get a commission from retail offers.

Celebrating Bloodborne’s 5th Anniversary

On this week’s episode of IGN’s PlayStation show Podcast Beyond!, host Jonathon Dornbush is joined by Brian Altano and Max Scoville to celebrate Bloodborne’s 5th anniversary, reminiscing on why the game is still so beloved for PS4 players, what it’s like to jump into the game now, and more.

Plus, we discuss the latest updates to Sony’s PS5 backward compatibility stance, PS5’s messaging overall, PS Plus games leaking for April, and much more.

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And, we’ve got a little teaser of our Bloodborne let’s play to come.

Have a That One Thing or Memory Card story to share? Write in to [email protected]!

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Download or listen to the show on these platforms:

Podcast Beyond! is live every Wednesday at 3 p.m. PT. For the latest on PS5, check out the PS5 full specs list, why we’re excited about PS5’s 3D audio focus, an analysis of what teraflops really mean for the PS5 and Xbox Series X, and check out images of the allegedly PS5 dev kit and controller.

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Jonathon Dornbush is IGN’s Senior News Editor, host of Podcast Beyond!, and PlayStation lead. Talk to him on Twitter @jmdornbush.

Half-Life: Alyx Has A Death Stranding Easter Egg

Observant Half-Life: Alyx players spotted a Death Stranding Easter egg in one of the later chapters of Valve’s recently launched VR-exclusive. Reddit user KnightzIX posted an image of the Death Stranding tribute, which you can see below.

Credit goes to Reddit user KnightzIX.
Credit goes to Reddit user KnightzIX.

The find was verified by another Reddit user in the thread.

If you can’t tell, the Easter egg is a Death Stranding-style piece of cargo, complete with BRIDGES logo and the game’s iconic yellow caution tape. Next to it is a black boot with yellow soles. It appears to be located in Chapter 8 of Half-Life: Alyx, in the locked storage room guarded by laser tripmines.

The Easter egg makes sense. Death Stranding is coming to PC in June and its PC release date trailer showed Sam Bridges wearing a headcrab and gravity gloves, which Hideo Kojima later confirmed were “collaboration items.”

There are a number of cool Easter eggs and other details in Half-Life: Alyx we’ve noticed, and the list is only growing with the community on the hunt as well.

For more, read our Half-Life: Alyx review and hit up some of our guides on the game’s accessibility options, the best weapon upgrades, and top 10 essential beginner’s tips.