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Developed by the relatively new Russian studio Unfrozen and published by Daedalic Entertainment, Iratus: Lord of the Dead draws inspiration from such titles as 2016’s Darkest Dungeon to create a dark turn-based RPG that reinforces the notion set by such games as the Overlord series: Sometimes it’s good to be bad. Having started development in 2018, Iratus drew considerable attention when it launched on Steam Early Access last year. In addition, a DLC expansion entitled Wrath of the Necromancer is currently in the works for a September release, ensuring more world-razing fun and debauchery in the near future. In the meantime, the main game already provides enough wickedly engaging gameplay to entertain an aspiring villain.

Players are put in the role of the titular Iratus, a dark necromancer who - as depicted in the game’s black and white, motion comic style opening cutscene - once raised a great army of the undead before being defeated by a heroic group of knights and sealed in a stone casket to ponder his errors for all of eternity. That is until he is unearthed by a band of hapless miners to rebuild his forces and take revenge on the world of the living. To do so, he and his newly-reconjured army of the damned will have to battle their way through a variety of dungeons as they ascend from the mines Iratus was trapped in all the way to the towering cathedral that houses the beings who vanquished him. It’s pretty much a standard “villain seeks revenge” plotline, but Iratus: Lord of the Dead provides plenty of dark humor and macabre personality to keep things relatively fresh.

The game plays out in traditional tactical RPG fashion, with players sending a squad of minions through a total of five lengthy dungeons as they battle their way toward a showdown with the given area’s boss. Players transverse these dungeons by clicking on an enemy marker or object of importance on the in-game map, resulting in either a battle, an upgrade for either Iratus or his minions, a cache of bonus items, a ritual sacrificing of a minion in exchange for bonuses, small mini-missions or even the chance to raise an extra minion. The dungeons contain many branching paths, but players can only move forward once a choice has been made, requiring some thought as to whether they want a Mana boost or a new item.


Battles unfold on a 2D plane, with participating minions standing single-file and being issued commands like physical strikes, spells, or even stat-altering Stances by clicking on command buttons on the bottom of the screen in order to maim, curse and even immolate those who would defy them. The game’s vast array of various undead forces each carry up to 6 attacks that either can only be accessed from a certain position on the field or require use of an in-game resource called “Wrath,” which fills as your enemies attack you. Iratus himself commands these forces from his personal chamber, as well as unleashes magic spells to attack his enemies using a secondary Mana resource. Your enemies, who range from lowly gravediggers to armored knights, have two separate health bars: a red one for physical and magical attacks and a purple one for psychological damage called “Stress” which, when drained, can result in said enemy attacking their squadmates in confusion, trying to flee the battle, or even dying of a heart attack when it hits zero. Battles are often a matter of choosing which meter to drain, as certain enemies are more vulnerable to certain types of damage than others.

With Iratus’s necromancy powers, players can use the resources gained from battle, such as their enemies’ organs and skeletal remains, to create new minions in one of the game’s unique hooks. After a minion is brought to life, the parts used to create them can be switched out in order to boost stats and even increase their experience level. In addition to minions, these resources can also be used to craft new weapons, armor or even magical amulets for your forces to draw dark power from, and even Iratus himself can be equipped with certain items or even destroy them for more experience points, which he can then use to unlock additional spells and upgrades via game’s “Talents” tree. Finally, players can build a base of operations in the Graveyard outside his domain using yet another resource called Digger’s Souls, converting Iratus' former prison into a mighty fortress with areas designed to help heal minions and increase their power.



When starting Iratus: Lord of the Dead, the game provides a disclaimer warning that the battles ahead will be challenging, and there are up to four difficulty settings. After the hour-or-so long tutorial, Iratus lives up to that warning, as enemies can take a great deal of damage in addition to dealing it out. Even at the game’s easiest setting, be prepared to lose many minions, especially in the later levels, and once a minion dies, it’s gone forever. This makes strategy all the more important, as well as taking advantage of resources like stat-boosting equipment parts and the Graveyard’s healing Mortuary building to keep your forces in tip-top shape.

Outside of the battlefield, Iratus’s music gives off an appropriate goth-like atmosphere, with the haunting organs and sinister scare cords one would expect as the dead rise from their graves in search of revenge. As for the voice acting, Iratus is given a gravelly British tone courtesy of longtime computer game voice actor Stefan Weyte, with enough dry wit during post-battle observations to give him a personality beyond the generic dark overlord he appears as on the surface. The 2D, sprite-based art style reflects the grim yet humorous tone the game as a whole retains, featuring a mix of vivid color palates and grotesque designs for characters, in addition to enemies progressing through a battle covered in their own blood and internal organs.

Iratus: Lord Of The Dead is a fun, darkly amusing dungeon crawler for those looking to bring destruction to the world rather than salvation. Its mechanics are simple to learn yet difficult to master, and there is plenty of challenge to go with the fun novelties of using fallen enemies as building materials for your cannon fodder minions and literally scaring your foes to death. If players don’t mind the punishing difficulty in later chapters, Iratus: Lord Of The Dead serves as a decent way to burn through a rainy day – just as the corpse-like Bride of Iratus burns through those who stand in her way with a trio of flaming arrows.

Iratus: Lord Of The Dead is available for PC.

It's no secret that developers have learned the potency of the online card game genre over the last few years. It doesn't take an industry analyst to realize that there are a lot of people playing games like Magic Arena and Hearthstone, to say nothing of the ringing endorsement that Riot Games gave to the burgeoning archetype with its development of Legends of Runeterra. With so many massive companies competing in such a small (for now) space, how does a studio set its own spin on the genre apart from all the rest?

The answer for 1939 Games is KARDS - The WWII Card Game, an online card battler that eschews the usual fantasy trappings for gritty, realistic historicism and a brutal adherence to the many complexities of each nations' military ideals during World War II. While the game doesn't do anything too innovative beyond its interesting aesthetic trappings, it also doesn't stumble anywhere, creating a compelling setting for fans of card games who want something totally different to another wizard summoning elementals to battle dragons.

KARDS is, if nothing else, a beautiful game. It really doubles down on its World War II aesthetic from the beginning, with even its cards appearing as though they're artifacts from a bygone era. The table setting, complete with weapons appropriate to the time period, really does make KARDS feel as though it's taking place in a bunker somewhere to pass the time. While that's a grim prospect to have looming over an enjoyable card game, it's not like 1939 Games wants players to feel any different - even the cards themselves evoke war, with all the complex emotions that come alongside that.

The answer for 1939 Games is KARDS - The WWII Card Game, an online card battler that eschews the usual fantasy trappings for gritty, realistic historicism and a brutal adherence to the many complexities of each nations' military ideals during World War II. While the game doesn't do anything too innovative beyond its interesting aesthetic trappings, it also doesn't stumble anywhere, creating a compelling setting for fans of card games who want something totally different to another wizard summoning elementals to battle dragons.

KARDS is, if nothing else, a beautiful game. It really doubles down on its World War II aesthetic from the beginning, with even its cards appearing as though they're artifacts from a bygone era. The table setting, complete with weapons appropriate to the time period, really does make KARDS feel as though it's taking place in a bunker somewhere to pass the time. While that's a grim prospect to have looming over an enjoyable card game, it's not like 1939 Games wants players to feel any different - even the cards themselves evoke war, with all the complex emotions that come alongside that.

The most interesting facet of KARDS' brand of online card battling is the way it lets players choose their identity in the form of a deck. There are five main factions: the United States, the British Empire, the Soviet Union, Japan, and, of course, Germany. Those have been supplemented with the release of an expansion, Allegiance, which has added France and Italy. Each of these factions feels very distinct from the other, with the British Empire, for instance, focused on accruing resources and then deploying them and out-muscling their opponents - the comparison with how actual British fighting was done is obvious. It's like that with each faction, which feels true-to-form in both playstyle and historical representation, a tricky balance that 1939 Games navigates quite well.

Ultimately, however, the actual card battling itself is a rehash of most of the popular mechanics players will find familiar if they've played any other of the big titles on the market. That's not necessarily a mistake - these mechanics are popular for a reason, after all - but what begins with some promising twists on the genre ends with a game that feels very similar to what fans have done before. The resource mechanic is basic, the positioning of units is a take on lanes from the ill-fated Artifact, and abilities are just WWII-themed names of pretty widespread ideas at this point.

Again, that's not enough to say KARDS isn't a good game - it is, without a doubt, and the team that balanced its play has a lot to be proud of, as it feels very fluid to switch between factions and still manage to both compete and have interesting matches. What it does mean, however, is that KARDS is very specific about its audience: it's not going to do enough to revolutionize how anyone plays an online card game, and as a result, it's not likely to draw anyone away from the games they're currently playing in that space. Players who love history and, more specifically, the mythos of World War II, will undoubtedly find a game that's tailor-made just for them. For everyone else, it's a nice distraction, but it's not ground-breaking by any means.

Still, KARDS does a lot right. The game's economy is largely free-to-play and it never tries to offer an advantage to players willing to buy packs - they just get more cards to use earlier. Players can earn free packs through play, though, and can play seasons that offer rewards and accolades. There's also a draft function, though KARDS drafting feels distinctly simple - not to say that it's bad, but more that it doesn't offer the depth that many have come to expect from drafting cards. Each card is very powerful, even at common, so it's basically impossible to build a bad deck, which is good for accessibility but does reduce the leverage skilled players have when it comes to deckbuilding in draft.

Overall, KARDS is a great entry into the digital card game space that does just enough to make it worth trying for everyone, rather than just WWII buffs. While it doesn't revolutionize the genre, KARDS never really stumbles much either, and the amount of polish for a game that's only one base set and an expansion into its life cycle is remarkable. There's a lot of promise in KARDS that suggests it could get even better, too, so if it begins to feel a bit more daring in how it designs its card abilities, there's every chance this is the foundation of a real game-changer in the future.

KARDS is available on PC via Steam.

The latest photos from the Avatar 2 set highlight the underwater technology James Cameron is using to film the sequel. Cameron, of course, broken his own box office when he released the original Avatar in 2009, grossing $2.79 billion and netting three Oscars for his efforts. While the blockbuster was criticized for its white-savior-in-space narrative, it was also celebrated for its ground-breaking use of 3D, immersive CGI, and motion-capture effects. Never one to rest on his laurels, Cameron is actively working on four sequels to his space epic and will start off by taking audiences to the oceans of Pandora in Avatar 2.

With films production currently shut down because of the coronavirus pandemic, there's been some question as to whether Avatar 2 will be able to make its release date in December 2021, given the sheer extensiveness of the project. However, for the time being, the film is sticking with that date and continuing "virtual" production on its many, many VFX elements remotely. Meanwhile, the Avatar franchise's social media promoters continue to build anticipation by releasing behind the scenes images from the set.

Two additional photos from the Avatar 2 set has since made their way online, courtesy of the franchise's Twitter account. You can check those out below, along with some details about how Cameron is shooting scenes underwater for the sequel.

By filming them this way, Cameron's intention is to bring a heightened sense of realism to Avatar 2's underwater scenes, as far as their physics are concerned. The director is famously a deep sea diver and has channeled his obsession with the ocean into his art by making the undersea sci-fi thriller The Abyss, in addition to the documentaries Aliens of the Deep and Ghosts of the Abyss. Given Cameron's meticulous approach, it'll be interesting to see what the oceans of Pandora actually look like in Avatar 2. If nothing else, it's safe to assume they'll be worlds apart from James Wan's fantastical depiction of life under the sea in his DCEU movie Aquaman. Cameron actually spoke out about that last year, admitting he would've struggled to direct Aquaman because of its "total dreamlike disconnection" from the reality of what underwater movement is like.

Obviously, the other question is whether audiences will care about Avatar 2's underwater realism, or if they'll prefer the expressive fantasy of Aquaman. The original movie's blend of (outdated) environmental parable and cutting-edge visual effects feels like it belongs to a bygone era, and these new films will be hard-pressed to stand out in a landscape that's moved on from the 3D boom kicked off by the first Avatar. That being said, it's never smart to bet against Cameron, and the director has undoubtedly taken into consideration how the art of blockbuster storytelling has evolved in the era of multi-film narratives while plotting out his Avatar sequels. Fingers crossed, then, Avatar 2 will make its current date and we'll finally get to judge the end result in about a year and a half.

Despite widespread critical and fan acclaim, FOX canceled Terminator: The Sarah Connor Chronicles after only two seasons and 31 episodes. Terminator is one of the most famous film franchises in history, but that's despite the fact that it hasn't been at the top of its game for nearly 30 years. 1984's The Terminator and 1991's Terminator 2: Judgment Day, directed by James Cameron, are both all time classics, but the Terminator movies since have ranged from pretty good to dreadful, with nothing coming close to that initial glory.

Three straight times now, with 2009's Terminator Salvation, 2015's Terminator Genisys, and 2019's Terminator: Dark Fate, the franchise's producers have tried to kickstart a new Terminator trilogy, only to stumble and fall as if Lucy had just pulled the football out from in front of them. Salvation and Genisys were critical and commercial flops, and Dark Fate earned quite a few positive reviews, only to flatline at the box office anyway. For now, it would appear that the interest in Terminator movies has waned.

With that in mind, maybe it's time Terminator heads back to the small screen, as the last time it did so, things turned out well. That's when it comes to quality at least. Sadly, Terminator: The Sarah Connor Chronicles became yet another sci-fi show to meet an early demise at FOX.

Terminator: Why Sarah Connor Chronicles Was Canceled So Quickly

As kind as critics generally were to Terminator: The Sarah Connor Chronicles, and as much as its loyal fans dug it, the reasoning behind its cancellation was fairly simple: the ratings were low. Just to show how much a difference a decade makes, the numbers Terminator: The Sarah Connor Chronicles drew, especially in season 1, are numbers most shows would kill for now. But in 2008 and 2009, streaming had yet to thin out the live TV audience to the point it's currently at, and Sarah Connor Chronicles' ratings were seen as disappointing by FOX, especially because they consistently went downward as the series progressed.

Additionally, Terminator: The Sarah Connor Chronicles was a sci-fi/action series full of special effects, meaning that each episode cost a lot more to produce than the average drama or comedy at that time. While visually complex sci-fi and horror programs now dominate the programming landscape, a show like Sarah Connor Chronicles wasn't nearly as common back then. A third factor was that Terminator: The Sarah Connor Chronicles was produced by Warner Bros TV., and licensed for airing by FOX. Shows owned by the network itself are always more attractive to keep around, as the end product will then remain available for the network's studio arm to sell forever on home video, to streaming services, and in syndication