**The Dying Light Franchise: An Overview of Dying Light: The Beast**

The Dying Light franchise has consistently been praised for its intense first-person zombie survival gameplay, and with the imminent launch of Dying Light: The Beast, developer Techland is ready to take the series to elevated levels. After participating in an hour-long demonstration, it’s evident that this installment aims to provide an exhilarating adventure for both devoted fans and newcomers.

**A Fresh Locale: Castor Woods**

Dying Light: The Beast immerses players in Castor Woods, an idyllic European tourist destination now devastated by infection. This locale signifies a shift from the cityscapes of earlier entries, presenting an expansive terrain brimming with novel challenges and navigation possibilities. The town, with its eerie charm, acts as a fragile stronghold of humanity on the verge of being reclaimed by the wild.

**Kyle Crane’s Comeback**

In a delightful twist for loyal fans, Dying Light: The Beast reintroduces Kyle Crane, the central character from the original title. His return resolves lingering uncertainties regarding his destiny and lays the groundwork for a new quest: to unveil the secrets surrounding the enigmatic figure referred to as The Baron. Crane’s expedition is filled with peril, as he confronts not only the infected but also The Baron’s elite forces.

**Stealth, Combat, and Parkour Dynamics**

The demonstration highlighted the game’s focus on stealth, combat, and parkour. Players are required to traverse a world laden with dangers, employing a combination of stealth and direct conflict. The parkour mechanics remain smooth and demanding, necessitating proficiency in the controls to effectively navigate the surroundings. The demo featured a tense infiltration mission, where players needed to outwit heavily armed soldiers and fearsome creatures.

**Automobiles and Major Fights**

Dying Light: The Beast brings back drivable vehicles, introducing a dynamic component to the gameplay. The driving mechanics are seamlessly integrated, providing a fluid experience as players maneuver through waves of zombies. The demonstration concluded with an exhilarating boss confrontation against a mutated beast, necessitating strategic weapon use and environmental awareness to endure.

**Excitement for the August Launch**

Set for release this August, Dying Light: The Beast is set to be a remarkable addition to the franchise. Techland has refined various features of the game, ensuring a more polished and engaging experience. With its novel setting, the return of a cherished protagonist, and an array of new gameplay mechanics, fans have plenty to anticipate as they gear up to reenter the realm of Dying Light.

At the Summer Game Fest 2025, Marvel’s Deadpool VR, developed by Twisted Pixel and Oculus Studios alongside Marvel Games, was not simply unveiled; attendees had the chance to experience being the Merc with the Mouth on the Play Days show floor. As a long-time Deadpool enthusiast, I regrettably found myself unable to engage in the VR experience when the chance presented itself, leading me to forgo the hands-on session.

Nonetheless, this allowed me to converse with several members of the Twisted Pixel development team while observing others play, affording me valuable insights into the game that would surpass what I might have gathered through personal gameplay.

With a release window set for 2025, Marvel’s Deadpool VR is set to launch exclusively on Meta Quest 3 and 3S. The demo kicked off with players controlling Deadpool’s head, tasked with reuniting it with his body. The game promises a brand-new narrative while also planning to explore various locations and characters throughout the MCU, emphasizing, “It’s real metaverse stuff—in the Marvel Universe sense, not the VR one.” Naturally, I couldn’t help but inquire about potential spoilers, but they maintained a level of secrecy. They did reveal, however, that players will encounter Lady Deathstrike, Mephisto, and a slew of Marvel content that hasn’t been disclosed yet.

No Deadpool experience would be complete without some fourth-wall-breaking, and Marvel’s Deadpool VR is replete with it. He’s aware he’s in a video game, with Shield contracting him to seize a helicopter, only for him to crash it instead, triggering chaos. As I watched, it appeared no two players approached the game identically, a fact confirmed by the Twisted Pixel team who explained their goal of ensuring a unique experience for each player. In addition to wielding Deadpool’s iconic firearms and katanas, they aimed to encapsulate the absurdity of Deadpool’s character in a VR setting.

“Like any exceptional VR game, if you can visualize it, you can probably execute it. Sure, you can merely stab or shoot your foes, but where’s the excitement in that? Punch someone while clutching a grenade? Absolutely. Take your recently severed arm and hurl it at the enemies? Disgusting, but why not? Shove an enemy’s face into a whirling propeller? A bloody, yet effective, method. Soldiers, demonic canines, peculiar humanoid lizards, unsettling worm-like creatures, they’re all poised for creative (some might label it sadistic) dismemberment.”

Deadpool stands as a wildly popular, yet somewhat niche Marvel character, perhaps not as kid-friendly as some of his counterparts. Combined with the even more specialized VR gaming market and the exclusive Meta Quest platform, I have some concerns for this title. What I can express is that I’m certainly eager to dive in, but as I mentioned before, VR tends to make me extremely ill. I relayed my concerns to Twisted Pixel, apologizing for not participating hands-on, and they encouraged me enough that I can try it safely from home, avoiding the chaos of the show floor.

The team mentioned implementing several accessibility options intended to assist individuals like me in playing Marvel’s Deadpool VR without succumbing to motion sickness. Examples they provided included the capability to control snap or free turns, along with the adjustable value of those fields. There’s a camera reset command, and the game adapts to your arm length, which is thrilling for those of us on the shorter side. I also appreciated the option to play either standing or seated, as well as the ability to switch your dominant hand. I’m not asserting it will work, but I sincerely hope it does.

Marvel’s Deadpool VR is certainly not designed for children; however, I might consider letting my oldest (10) partake. The art style pays tribute to Marvel comics, opting for a more cartoonish aesthetic rather than a realistic approach, which I find quite appealing. Despite the game’s gory aspects, its more stylized look reduces the perceived aggression. I should mention that I wasn’t able to hear the complete audio, and while I know the game will feature adult language, I can’t confirm the full extent of its maturity level.

Another point touched upon by Twisted Pixel, which I might have overlooked during the demo, is the impressive replayability of Marvel’s Deadpool VR. Collectibles may lure players back, but there are also weapon upgrades, allowing for varied playthroughs. For example, you can enhance your sword to transform it into a boomerang, which is simply cool.

Given that Deadpool is aware he exists within Marvel’s Deadpool VR, I was curious whether any dialogue changes occur during repeated playthroughs. The response was a res…

Just a few days prior, the Konami Press Start 2025 event was unveiled, and as it commenced today, here are all the fresh announcements from the showcase.

As Summer Game Fest 2025 fades in the distance, fans gaze toward the future and the recently revealed Konami Press Start 2025 showcase. Each year, certain developers keep their surprises under wraps for before SGF 2025, while others prefer to wait until after the massive event to highlight what’s forthcoming for gamers; this year, Konami takes that distinction. Although Konami had no new presentations at the Summer Game Fest, the Konami Press Start event aired today, showcasing what the company is planning for the next year and beyond.

Below, fans can discover all the announcements from the Konami Press Start 2025 showcase.

METAL GEAR SOLID Δ: SNAKE EATER – Fox Hunt Multiplayer

The Konami Press Start 2025 showcase kicked off strongly with a new look at the upcoming METAL GEAR SOLID Δ: SNAKE EATER Remaster, and with just two months left until launch, Konami unveiled an exciting new mode for the game called Fox Hunt. This new mode exists in the same universe as Snake Eater but operates quite differently. Konami characterizes this mode as a “new type of mode” focusing on the series’ stealth gameplay mechanics.

Additional expansions were announced for the forthcoming remaster, including the teased bonus content from the PS2 original (like Ape Escape’s Snake vs. Monkey), confirming that the developers at Virtuos aim to elevate Snake Eater for this re-release.

METAL GEAR SOLID Δ: SNAKE EATER is set to launch on August 28.

Darwin’s Paradox

Next up was the debut title from ZDT Studios, a mollusk stealth game named Darwin’s Paradox! Players assume the role of Darwin, an octopus removed from his natural ocean environment and thrust into a tumultuous world controlled by UFOOD INC., where a nefarious plot for global dominance is afoot.

Darwin’s Paradox! is available for wish-listing on Steam today.

Konami Press Start 2025: Other Announcements

– eBaseball MLB Pro Spirit – The inaugural American baseball mobile game featuring actual MLB line-ups and rosters.
– Upcoming tournament details for Yu-Gi-Oh! have been disclosed along with a preview of the continuing promotional short anime series, The Chronicles.
– Producer Rui Naito and Director Tatsuya Ogushi of Suikoden I&II HD Remaster confirmed the title will be released on Nintendo Switch 2. They also announced Suikoden StarLeap, a brand new RPG set in the Suikoden universe, marking the first mobile game in the series, also headed to Steam.
– Gradius Origins will be available on PC via Steam, PS5, Xbox Series, and Nintendo Switch 2 on August 7, 2025.
– Deliver At All Costs released a post-launch trailer after its May 20 debut, viewable here.
– Eden’s Zero is finally receiving a game adaptation, and Konami has released a Demo that carries over progress to the main game today. The Demo is accessible on Xbox Series S/X, PS5, and PC.
– A new trailer was dropped for an upcoming Nintendo Switch 2 exclusive title from Konami, Survival Kids, which is available now.

The final announcements from the Konami Press Start 2025 showcase provided a fresh perspective on the upcoming title Silent Hill f. Silent Hill f is the series’ first installment set in Silent Hill itself, with the location shifting to Japan. The new Silent Hill f is scheduled for release on September 25, 2025, and the developers’ inspiration for the new setting and ‘Finding the Beauty in Terror’ theme is hauntingly intense.

At the conclusion of the Konami Press Start 2025 showcase, Konami disclosed that a Silent Hill Remake is currently in development with Bloober Team, the same team that created the well-received Silent Hill 2 Remake. Regrettably, aside from the above image, no further details regarding the remake have been revealed. Fans can catch the entire Konami Press Start presentation on the official Konami YouTube channel.

During a hands-off showcase at Summer Games Fest, Onimusha: Way of the Sword quietly surfaced as one of the most thrilling prospects on the horizon. Capcom allowed the game to convey its message. What it expressed, resoundingly, is that they’re not merely resurrecting Onimusha to tap into nostalgia. They’re reconstructing it from the ground up.

It has been almost twenty years since Onimusha was regarded as a cornerstone of Capcom’s catalogue. However, with recent remasters and Way of the Sword approaching, the studio is treating this comeback as a special occasion. This isn’t just a minor spin-off; this is a comprehensive installment with significant impact, and a distinct creative vision driving it. It proudly showcases its influences, particularly from samurai cinema and modern action mechanics, yet it never comes across as derivative.

Set in a stylized rendition of feudal Kyoto, the game centers on Miyamoto Musashi, not the philosophical warrior of lore, but a younger fighter visually and vocally inspired by Toshiro Mifune, an iconic Japanese actor and producer celebrated for his contributions to the samurai film genre. That casting decision carries substantial weight. It roots the game in a very particular cinematic period, one characterized by black-and-white duels and striking silhouettes.

Musashi isn’t merely dispatching bandits, of course. The supernatural elements are integrated from the outset. He wears the Oni gauntlet on his arm, a cursed object that enables him to absorb the souls of his adversaries. While many contemporary action games might simplify this into an auto-collection system, Way of the Sword incorporates it as an active mechanic. Enemies release red, blue, and yellow orbs upon dying, representing experience, skills, and health, respectively, which Musashi must manually gather. If he fails to do so, they vanish or, worse, are seized by other foes who enhance their power. This twist introduces a genuine tension to every encounter. It’s refreshing to see that this mechanic remains intact amidst the series’ modernization.

Combat ascends to a new height with the return of the Issen. Series veterans are well-acquainted with the term. These are instant-death counters that activate with perfect timing and appear truly impressive. Capcom has evolved them from a subtle flourish to a focal point. Time slows, the camera zooms in, and Musashi links together one-hit kills that feel like they’re pulled straight from a Kurosawa dream sequence. And the most thrilling aspect is its expressiveness.

We caught only a glimpse, but another hinted boss, Byakue, resembled a full-blown nightmare—a colossal, skinless creature adorned with talismans and oozing corruption. The confrontation was abruptly halted, but the visuals alone conveyed enough. This game isn’t shy about embracing the bizarre, and it expertly cultivates dread without excessive exposition.

The supernatural aspects in Way of the Sword extend beyond the battlefield. Musashi can utilize Oni Visions to uncover hidden paths, phantoms, and clues. In one segment, he observed a funeral procession disintegrate into ash mid-step, unveiling his route. In another vision, he unveiled the moments of a warrior whose soul had been warped by remorse after slaying members of his village. These Dark Mass fragments enrich the narrative with layers of context and sadness, developing a world that already exudes haunting qualities.

From a presentation standpoint, Way of the Sword is breathtaking. The art direction is carrying most of the weight, but the animation quality enhances the overall experience. Musashi’s stance appears to adjust subtly based on the foe he confronts. Even his idle poses seem infused with purpose. Enemy design is equally striking.

What is perhaps the most thrilling is how assured everything feels. Capcom isn’t doubting what Onimusha should embody. They’ve rediscovered it. Not by recreating what once was, but by distilling what made it resonate and letting it resonate in a new key. It’s fierce, beautiful, and boldly allows silence to convey meaning when necessary.

There’s still a lot we haven’t witnessed. The complete narrative arc, the expansiveness of the map, how far the mechanics develop. But if the remainder of Way of the Sword maintains this momentum, Capcom isn’t merely resurrecting a franchise; they’re reminding everyone why it mattered in the first place.

Capcom has consistently pushed the limits of horror, but with Resident Evil Requiem, it appears they’re intent on making us feel uneasy in a manner that emphasizes raw, unfiltered fear over combat. Following a thirty-minute presentation, it’s apparent: this isn’t merely another return to Raccoon City; it’s a plunge into a realm that’s colder, more anxious, and profoundly personal. I can’t shake the thought of it.

Slated for release next year, Resident Evil Requiem is already setting itself up to be one of the most unsettling entries in the franchise, not solely due to the grotesque creatures or the return to a nuclear-devastated Raccoon City. The crucial transformation comes from the viewpoint—not just the camera angle, which players can switch between first and third-person at will, but in the narrative tone and the emotions Requiem aims to evoke. The key term here is helplessness. It masterfully encapsulates that feeling in every breath and misstep made by protagonist Grace Ashcroft.

Grace is not a gun-wielding action hero. She doesn’t resemble Jill Valentine or Chris Redfield. Instead, she’s a terrified FBI agent who regains consciousness strapped upside down to a hospital bed, injured and utterly confused. Her breathing is ragged. Her footsteps echo ominously as if an anvil has fallen on the ship deck. Her voice quivers, perpetually teetering on the brink of panic, as if each step could be a blunder. It’s unsettling and at times draining, but that’s the intent.

“Resident Evil Requiem doesn’t merely simulate fear; it enforces it.”

Indeed, the heavy breathing and pained gasps may become grating over time, and the thunderous footsteps might feel engineered to shatter eardrums, but there’s a purpose behind this chaos. Resident Evil Requiem doesn’t just simulate terror; it enforces it. The game endeavors to make you feel overexposed, vulnerable, as though every action is a risk. It wants your head to throb a little. At least, that’s what I gathered.

Fortunately, you are not confined to that stifling first-person perspective the whole time. At any moment, players can access the pause menu and switch to a third-person viewpoint, a feature we eventually saw in Resident Evil Village’s Winters Expansion DLC. It’s not merely a gimmick, either. It significantly alters how you perceive Grace and your environment. The third-person view allows for a bit of distance and detachment, providing a much-needed breather from the suffocating intimacy of the first-person perspective, particularly when you’re fleeing from the massive creature that pursues Grace through the dilapidated corridors.

Speaking of that creature, it’s a grotesque, towering woman-beast with hands reminiscent of catcher’s mitts and an aura that evokes nightmares. She doesn’t just pursue Grace; she consumes her prey and disrupts the area they inhabit in the demo, chasing her and cutting power to the lights, forcing Grace to traverse through darkness once again. One moment in the Resident Evil Requiem demo unfolds like a horrifying exhibit: the beast lifts a corpse and tears into it. It’s a gruesome, visceral scene, and the animation is so expertly done that it approaches the line of being offensive.

Much of the Resident Evil Requiem demo hinges on this kind of tension. You’re not constantly under attack, yet you never feel secure. Most of Grace’s time is spent trying to figure out her location, flicking nonfunctional light switches, searching through drawers for keys and fuses, and glancing into shadows that seem deeper than they ought to be. The environments are dimly lit, often by red emergency lights that cast a blood-like hue over everything. The facility she’s trapped in is decrepit and claustrophobic, filled with narrow corridors and locked doors. This embodies classic Resident Evil but viewed through a perspective that feels more psychological, suffocating, and quiet—at least until it isn’t.

When violence occurs, it strikes hard. An infected body tumbling from a doorway represents the closest thing to a jumpscare we encountered early in the demo, and even that is overshadowed by the reveal of something far more monstrous lurking behind it. Grace does not retaliate, at least not in this segment. She flees. If you’re seeking shotgun-blasting action like in Resident Evil 4 Remake, that hasn’t been presented so far. However, if you appreciate the slow, dread-filled panic of Resident Evil 7, you’re in your element.

Nonetheless, that doesn’t imply Grace lacks efficacy. We’re told she has training; she is, after all, an FBI agent, and this comes through more in how she manages herself under duress rather than through combat. A syringe supplants the traditional green herb as the primary healing item, instantly

Nintendo has made an unexpected reveal with the announcement of the very first Splatoon spinoff game, Splatoon Raiders, set to release exclusively on the Nintendo Switch 2. This revelation came alongside a complimentary update for Splatoon 3, presented through a video named “Research Report from Squid Research Lab.”

Rather than proceeding with another numbered installment in the Splatoon franchise, Nintendo has unveiled Splatoon Raiders, a spinoff that invites players to embark on an adventure across the enigmatic Spirhalite Islands. Players will take on the role of a mechanic, teaming up with the Deep Cut trio—Shiver, Frye, and Big Man—as they set out on their quest. The teaser video showcases the trio traversing the Spirhalite Island, pursuing a yellow beam shot into the sky, although it does not disclose much regarding the gameplay or the islands themselves.

While the teaser leaves plenty to speculate about, it suggests that research is still in progress, indicating that fans may need to be patient for a release window. In the meantime, the free update for Splatoon 3, scheduled for release on June 12, will be accessible on both Nintendo Switch and Nintendo Switch 2. This update presents the Splatlands collection, featuring 30 new weapon kits with innovative designs and a variety of sub and special weapons.

Furthermore, the update affirms that Splatoon 3 players will have access to cross-play between the Nintendo Switch and Nintendo Switch 2. However, additional details about Splatoon Raiders will be disclosed in the near future, keeping fans eagerly looking forward to the new spinoff.

It should likely go unsaid that when I first encountered *Mouse: P.I. For Hire*—originally just called *Mouse*—I was instantly captivated. It was yet another one of those titles that appeared on one of my social media feeds, and I was enamored with its concept. I’ve previously noted that I’ve genuinely enjoyed the fusion of 2D characters within 3D settings, as seen in games like *Demon Turf, Ruff and the Riverside* and *Forgive Me Father.* However, *Mouse: P.I. For Hire* truly elevated this idea.

With [Summer Game Fest](https://www.cgmagonline.com/news/summer-game-fest-2025-every-announcement/) being as hectic as it is, CGM couldn’t sit down with Fumi Games directly to delve deeper into *Mouse: P.I. For Hire,* but the team kindly shared with us some initial footage of the game in action, and I must admit—it’s quite a progression. What began as a relatively simple shooter with an amazing aesthetic has evolved into something remarkably creative and ingeniously original.

The gameplay video we were presented with showcased Jack Pepper—the main character, voiced by none other than [Troy Baker](https://www.cgmagonline.com/news/death-stranding-2-a-10-minute-trailer/)—tracking a lead to an old Opera House where it appears a mayoral candidate is about to become the target of an assassination. Jack must fight through a horde of thugs to prevent this and uncover his next clue to solve the case.

What was immediately compelling about the demo was how it appeared to display more than the typical combat—which has been the focus of several of the game’s pre-release trailers. While it may still embrace the rather conventional level structure found in many classic FPS titles, it almost hinted at gameplay that could suggest *Mouse: P.I. For Hire* might incorporate some Immersive Sim elements.

### “Though it’s still a bit away from launch, it’s incredible to see just how much *Mouse: P.I. For Hire* has progressed in its development.”

As players approached the Opera, they were presented with the option to bribe one of the waiters for discreet access inside without causing a scene, or they could potentially gain entry through the air ducts. Additionally, it featured a brief moment where Jack snapped a picture of some suspicious activity, implying there may be aspects of mystery-solving in this game. While it wasn’t extensive, it would fit perfectly with the game’s Noir theme, encouraging players to explore, gather clues, and tackle situations from diverse angles.

The combat itself appeared extremely tight and thrilling in a manner reminiscent of many classic shooters. Confined spaces and numerous adversaries will keep players alert, and they’ll need to take advantage of a wide array of traditional and unique weapons, as well as the environment itself—explosive barrels can provide a tactical edge.

But naturally, the centerpiece of the trailer was witnessing the game’s stunning aesthetic come to life. It’s a method that dates back to the Nintendo 64 era—utilizing a 2D object that consistently faces the camera. Nonetheless, Fumi Games has dedicated an incredible amount of effort to capture the essence and style of classic cartoons in an enjoyable and imaginative manner. From the way Jack acquires new weapons in a manner that’s both realistic and whimsical, to the manner in which those weapons bounce around as though made of rubber, to the amusingly exaggerated enemy demises—think more *Itchy and Scratchy* than *Steamboat Willie.*

And the ingenuity of *Mouse: P.I. For Hire* is evident in the weapons themselves. Although the demo showcased several that are quite typical for the Noir genre, the one that truly stood out to me was the Turpentine Gun. I couldn’t help but chuckle at a weapon that, in any other shooter, might simply have been a Plasma or Acid Gun, yet here it employs a chemical specifically meant to dissolve paint. It was this little nuance that truly had me eager to see what other playful interpretations *Mouse: P.I. For Hire* would explore with its premise.

While it’s still a bit away from launch, it’s amazing to see just how far *Mouse: P.I. For Hire* has progressed in its development. It serves as a solid reminder that even games that seem simple in genre can be transformed into something far more impactful through an imaginative concept. [Titles like this](https://store.steampowered.com/app/2416450/MOUSE_PI_For_Hire/) are why I’m always emphasizing the [Indie](https://www.cgmagonline.com/news/sg) scene.

Neowiz and the team behind “Lies of P: Overture” have recently responded to fan worries about the difficult aspects of their newest DLC. The unexpected launch during the SGF 2025 showcase was greeted with enthusiasm, but shortly thereafter, players began voicing their displeasure online, making comparisons to the initial reactions to “Elden Ring: Shadow of the Erdtree.”

On platforms such as Reddit, conversations regarding the difficulty of “Overture” have become so widespread that they have been gathered into a special megathread. Players have raised concerns about the abrupt increase in difficulty, with some claiming that the DLC poses challenges that seem unreasonable, pointing to excessively punishing mistakes and extended battles. The rise in difficulty is especially striking in NG+ mode, where enemies from the base game become considerably more intimidating.

In light of this feedback, director Jiwon Choi shared a video titled “Lies of P: Director’s Letter,” in which he recognized the devoted community and their worries. Choi reassured fans that the team is thoroughly reviewing the input and contemplating modifications, with particular emphasis on enhancing the combat experience. He highlighted the significance of combat in “Lies of P” and the necessity for any modifications to undergo rigorous testing.

As the development team considers possible adjustments, fans can find comfort in knowing that their feedback is being acknowledged, and enhancements are on the way.

Nintendo has revealed a postponement in the debut of the eagerly awaited live-action film adaptation of “The Legend of Zelda.” Initially scheduled for a March 26, 2027, launch, the movie will now be released on May 7, 2027. This adjustment coincides with the former release date for “Avengers: Secret Wars,” indicating a strategic maneuver to navigate other significant film premieres.

Shigeru Miyamoto, an influential figure at Nintendo, conveyed the modification through a concise statement, highlighting the necessity for extra production time to elevate the film’s quality. While particular explanations for the delay remain undisclosed, it seems to be a calculated strategy to steer clear of competition with notable March releases, including “Sonic the Hedgehog 4” and “Godzilla x Kong: Supernova.”

The film’s development has progressed slowly, with initial announcements tracing back to November 2023. Presently, Wes Ball is slated to direct, with Derek Connolly crafting the screenplay. Casting information is still confidential, though Hunter Schafer has been speculated for the role of Princess Zelda, notwithstanding possible engagement in a Marvel project.

This adaptation follows the triumph of “The Super Mario Bros. Movie,” which is recognized as the most successful video game film adaptation thus far, with a sequel anticipated in April 2026. As excitement grows, fans are keenly awaiting more news regarding the cinematic launch of this iconic franchise.

Fortnite, recognized for its wide-ranging crossovers, may soon introduce The Simpsons to its island, according to prominent leakers. While certain leaks remain uncertain, Epic Games’ track record of successful partnerships implies this could be yet another thrilling addition. Recent leaks indicate a possible bug invasion alongside The Simpsons crossover, with promotional posters in Utopia City showcasing pink, glazed donuts—a reference to the legendary series. Leaker @djlorenzouasset proposes that these could be hints for forthcoming content. ShiinaBR mentions that Chapter 6 Season 4 might end with an extraterrestrial invasion, setting the stage for a Simpsons mini-season ahead of Chapter 7, which is speculated to feature Norse elements. Although not verified, fans are eagerly looking forward to this possible crossover, wishing it becomes part of Fortnite’s acclaimed collaborations.