Game Informer Issue 376 has just become…Invincible! That’s right, our next cover is graced by Invincible VS, the tag team fighting game by developer Quarter Up and Skybound Games based on the acclaimed comic and animated series. 

We traveled to Skybound Entertainment to go several rounds in Invincible VS, which includes exclusive hands-on time with an unannounced fighter. Our 14-page cover story features new insights into the game’s conception, development history, and design approach based on interviews with Quarter Up's development leads, Skybound executives, and Invincible creators Robert Kirkman and Cory Walker. 

 

For the first time since Game Informer’s return, our issue features two artist renditions of the cover art showing off Invincible and Omni-Man facing off with new hero Ella Mental watching from afar. The first version comes from Quarter Up art director Dan Eder and is based on the Invincible VS in-game art style. Invincible co-creator Cory Walker lends his artistic talents to the second variation that renders the same scene in his signature style. Both versions appear on the same issue, with one on the front cover and the other on the back. For the subscriber edition, Cory Walker's art graces the front page; the newsstand edition flips the images to feature Dan Eder's art at the forefront. Check out the full spreads of both editions below:

 

Issue 376 also includes features such as contributor Jason Fanelli's piece following the lead developers from Kingdom Come: Deliverance II maker Warhorse Studios as they travel to The Game Awards 2025, providing a candid look at what it's like as a creator to be nominated for – and ultimately not win – the biggest awards show of the year.  Fanelli also has an interview with The Fifth Element/Resident Evil film star Milla Jovovich discussing her role as Hitman's latest Elusive Target. Have you ever been curious about delving into Warhammer 40,000? Contributor Luis Joshua Gutierrez provides a deep-dive primer on the lore of the tabletop universe for interested uninitiated readers. Senior video editor Alex Van Aken provides a feature discussing Overwatch's recent revamp and what it's like returning to the game formerly known as Overwatch 2. We also have previews of upcoming games, including Castlevania: Belmont's Curse, Kena: Scars of Kosmora, Denshattack, Thick as Thieves, and more!

Subscribers can read the digital edition right now. Physical versions will begin arriving in the mail in late March, and you can expect to find the magazine in bookstores and newsstands around the same timeframe. Be sure to subscribe today to receive 10 Game Informer magazines a year (physical and digital) and get Invincible VS as your first issue!

Mouse: P.I. For Hire has been delayed. Developer Fumi Games and publisher PlaySide Studios want to spend more time getting the vintage cartoon shooter ready for its debut, so it will now launch a month later than planned.

Originally set to be released on March 19, Mouse is now coming out on April 16. The development team shared a message explaining the delay that says, in part, “As we approach the final stages of development, we want to ensure we are taking the extra time and care needed to make Mouse: P.I. For Hire an experience to remember. We remain unwavering in our goal to deliver you the best game we can, and that will take just an extra few weeks.” 

You can read the full message below:

Mouse: P.I. For Hire was first announced in 2023 and is a noir first-person shooter inspired by “Boomer” shooters such as Doom, with a 1930s animation aesthetic. Players control detective Jack Pepper, voiced by Troy Baker, who must solve various mysteries across the city of Mouseberg, shooting loads of bad guys along the way. Game Informer subscribers can read our most recent magazine preview for the game here.

When Mouse: P.I. For Hire arrives, it will be available on PlayStation 5, Xbox Series X/S, Switch 2, Switch, and PC. The game arrives two days after Replaced, another highly anticipated indie that was also delayed from March to April in the last week.

Platform: iOS, Android
Publisher: Activision Blizzard
Developer: Blizzard Entertainment

During my recent trip to Blizzard Entertainment’s headquarters, I received a discreet invitation to a small gathering with a new team that’s been working on a secret project set in the Overwatch universe. The new game, Overwatch Rush, is a top-down multiplayer twin-stick shooter in early development for smartphones and tablets. Helmed by Blizzard’s Barcelona team, the standalone spin-off manages to smartly convert Overwatch’s essence into a surprisingly easy-to-control mobile adaptation.

Despite the genre shift, Overwatch Rush is surprisingly similar to the main game, incorporating many of the same characters and mechanics (exact copies, in several cases), but offers the ease of access mobile games are known for. The free-to-play shooter features intuitive touch controls, including tap and hold buttons to activate character abilities, a dedicated virtual analog stick for movement, and a secondary directional stick that doubles as the character’s primary fire. There is a small amount of auto-aim present, but you’ll still need to master the fundamentals to reach the top of a surprisingly high skill ceiling.

While the team’s goal is to introduce more heroes from the base game slowly, Overwatch Rush’s launch roster currently includes Tracer, Reinhardt, Kiriko, Soldier: 76, Lucio, Pharah, Mercy, and Reaper. Many of these heroes are one-to-one adaptations, but characters like Mercy have undergone significant changes. In Overwatch Rush, Mercy channels her battle medic persona, swapping her primary fire from her signature Caduceus Staff to her typically secondary blaster. You can tap her Blessing ability to self-cast or attach a simultaneous damage and healing boost to an ally. Additionally, Mercy has a directional boost that allows her to reduce or increase her distance from battle at will, and notably, enables her to fly alongside airborne heroes like Pharah. While Mercy has an area-of-effect resurrection ability, Blizzard has completely reworked her ultimate ability to be a damage and healing aura that affects players in proximity.

Repeatedly playing a hero earns you mastery levels, which unlock new mods and talents. Mods include minor hero improvements like decreased ability cooldowns, bonus health, and heal boosts. In contrast, talents offer more significant game changes, like causing Reinhardt’s Fire Strike to trigger a fiery tornado that sucks opponents into a central area. Alternatively, talents can alter Tracer’s recall to grant overhealth or imbue her Blink ability to deal damage if she passes through an enemy. While you can’t swap heroes mid-match, which are over in under five minutes, you can change loadouts if your selected build isn’t performing well.

Players compete across multiple modes, including familiar staples like Control Point and new ones like Nano Grab. The latter pits two teams against each other, requiring them to collect 100 green tokens, called Nanos, and deposit them in scattered banks that activate for only a short time, similar to a King of the Hill ruleset. Killing other players causes them to drop the Nanos they’re carrying, creating a satisfying risk-and-reward element.

While I’m still skeptical as to whether the project can stand on its own legs without any progression ties to Overwatch, it does feature substantial cosmetic rewards you’d expect from the series’ signature loot boxes. Overwatch Rush won’t release anytime soon, but I’m curious to see if Blizzard can capture a new, casual audience for one of its flagship series.

Ubisoft is appointing three developers to a new leadership team in charge of the Assassin's Creed franchise. Technically, Vantage Studios is doing the appointing, as it's the subsidiary Ubisoft established last year to manage its highest profile franchises, including Assassin's Creed, Far Cry, and Rainbow Six. Martin Schelling, Jean Guesdon, and François de Billy each have experience with various stages of the series' nearly 20-year history, but all three worked on 2017's Assassin's Creed Origins. Ubisoft announced the news in a post on its website.

Schelling will serve as the Head of Assassin's Creed Brand, which will put him in charge of "overall strategy and long-term vision." He's previously worked as a producer or brand producer at various levels on most games since Revelations, including Black Flag, Origins, and Valhalla. According to LinkedIn, he's worked as Ubisoft's Chief Production Officer since April 2024.

Guesdon will be the Head of Content, which seems to be the most hands-on out of the three roles. He'll reportedly "lead [the franchise's] creative direction, support individual games, and guide the future of Assassin’s Creed." He was the creative director of both Black Flag and Origins, though he left Ubisoft from 2023 to mid 2024 to work at Behaviour Interactive, a studio best known for Dead by Daylight.

Finally, de Billy is the new Head of Production Excellence, tasked with broadly strengthening production practices across Vantage's various Assassin's Creed projects. He was a production designer on Origins and Valhalla, but has worked at Ubisoft since 2001, and currently is its Global Senior Production Director.

We enjoyed Shadows, the most recent entry in the Assassin's Creed series (and you can read our review of it here). We're still waiting to see what exactly Ubisoft has in mind for the popular historical fiction franchise moving forward, but the last entry is less than a year old, so it'll likely be a while. But while we haven't heard about Assassin's Creed, its parent company has been in the news a lot in 2026, and not for good reasons. You can read about how it shut down its recently unionized Halifax studio, how it laid off employees at Massive Entertainment, or how it canceled six games in development (including the Sands of Time remake).

Platform: PlayStation 5, Xbox Series X/S, PC
Publisher: 2K Games
Developer: Visual Concepts
Release: March 13, 2026
Rating: Teen

Annual franchises have the difficult task of staying fresh and exciting within a development cycle that doesn’t allow for gargantuan changes each year. It’s a reality fans should keep in mind when measuring their expectations for the next release, but it’s also understandable to desire major shakeups. After playing a few hours of WWE 2K26 at 2K’s Creator’s Fest at WWE Headquarters last week, I felt conflicted by its overwhelming familiarity while still acknowledging some neat additions and subtle improvements.

During my session, I toured most of the usual modes. I peeked at the CM Punk-focused Showcase, began a new campaign in the story-driven MyRise, drafted a pool of superstars in MyGM, and took a return trip to The Island. I also sampled the four new match stipulations: I Quit, Inferno, Dumpster, and 3 Stages of Hell. And finally, I briefly checked out the new Ringside Pass, 2K26’s battle pass equivalent.

Positives that stood out to me immediately are the superstar models. These games have always looked great, though that quality varied by superstar. I certainly didn’t see everyone on the 400+ character roster, but the active stars I did see looked impressive. Cover star CM Punk looks fantastic, as do several others, including Randy Orton, Penta, Rey Fénix, Guilia, and Blake Monroe. Hearing the action called by the new commentary team of Michael Cole, Wade Barrett, and Booker T is a refreshing and long-overdue change. Another cool addition is AAA, the Lucha Libre promotion WWE acquired in 2025. Getting to control wrestlers like Mr. Iguana and El Hijo Del Vikingo is unexpected and awesome.

Developer Visual Concepts touts improvements to stamina and reversal systems, but I couldn’t tell you if I noticed a marketed difference. Executing reversals still feels like they require the same timings and inputs as previous entries, and my WWE 2K muscle memory didn’t need any adjustments. I feel similarly about managing stamina. That said, I am tickled by little additions such as the new pre-match interactions like choosing to rush the opponent before the bell, offering/rejecting handshakes, or hyping the crowd. Messing around with the more interactive entrance mechanics is also a small, goofy treat. Incessantly pressing the d-pad commands to trigger stage and ring pyro like I’m 2009 Randy Orton trying to blow up John Cena made me chuckle.

The new match stipulations are fine additions, in that it’s always great to have more gameplay options. However, I didn’t find any of them to be as exciting as, say, adding WarGames a few years ago. In 2K’s defense, some of the stipulations are weak in real life, too, so they worked with what they had.

The Inferno match, which unfolds in a ring surrounded by fire, involves hitting enough big moves to fill a meter that causes the flames to rise. Once this meter is full, you can then attempt to set the other player ablaze, which plays out similarly to nailing a Royal Rumble elimination by tossing them over the ropes using grapples or hard Irish whips. Some fun back-and-forth can be had in these moments. It is odd, however, that before filing the meter, you can exit the ring and even bring weapons inside. Cool on one hand, but the point of Inferno bouts is to keep the participants inside, and only a spectacular move, like diving over the top rope a la the Undertaker, can see a superstar escaping the flames unharmed.

Dumpster and I Quit matches fall squarely into the “nice to have, but I’ll rarely play it” category. Dumpster is essentially a Casket match, with players fighting to toss each other into the bin positioned at ringside and trying to out-button-press each other to close the lid. I Quit involves beating your opponent down and hitting a button to trigger a stop-the-needle mini-game, with the victim trying to nail multiple safe zones in succession to refuse to quit; missing too many leads to quitting. 3 Stages of Hell, the 2-out-of-3 falls match with each fall taking place under a different stipulation, is my favorite match addition. There’s nothing mechanically unique since you’re simply playing three match types back-to-back, but the endurance factor makes it a fun challenge since body damage carries across the matches.

It’s tough to get a true sense of how the other modes shape out when under a time limit. Since I need to hop around, I could only sample the early portions of Showcase, MyRise, MyGM, and The Island. From what I did see, don’t expect dramatic changes from each one. The Island’s addition of voice-acting is a big improvement, and the premise of players aligning with one of three themed factions led by CM Punk, Rhea Ripley, and Cody Rhodes may have some silly promise. One of my main criticisms of the mode last year was how much it pushes players to buy Virtual Currency (VC) to purchase expensive cosmetics and character stat points using real money. Although I didn’t get a look at how or if these prices are adjusted, getting control of my character on the Island and immediately seeing nothing but name-brand stores like Nike still feels icky.  

Showcase is usually one of my favorite destinations, and chronicling CM Punk’s career is a great choice. You can proceed through Showcase either through a timeline or in a gauntlet format; I chose the former, more traditional route, so I couldn’t tell you what the latter entails. Right off the bat, the mode begins with Punk’s early days on Raw, seemingly skipping his ECW run. There’s always a chance Showcase unfolds in non-chronological order, but as a Punk fan, I was disappointed to see his first two years in WWE referenced only in a video package. Outside of that, Showcase appears to be Showcase: play historical matches (with Punk adding contextual narration), complete optional objectives to trigger in-game cutscenes that unlock additional rewards afterwards.

MyRise and MyGM offer expansions to the familiar template. MyGM now allows players to book matches involving up to eight participants and includes intergender bouts. This is always one of my favorite destinations, and I’m sure I’ll still enjoy playing the booker in this year’s iteration. MyRise has a new, likely goofy storyline starring a superstar returning from a years-long absence (at least on the male side). This is also very familiar, as you’re still roaming backstage between matches to scroll a social media feed and chat with superstars in choice-driven conversations that influence a face or heel alignment. The bones appear to be the same, but the narrative meat will ultimately dictate how entertaining MyRise is this year, and the jury is out on that for now.

Ringside Pass is probably 2K26’s most significant new addition, adding battle pass progression that replaces the series’ usual DLC packs. Like every battle pass you’ve ever engaged with, it features free and premium (paid) tiers offering two sets of unlockable superstars, cosmetics, and other rewards. I appreciate that you can earn XP by playing any game mode, and I quickly unlocked the first batch of rewards of both tiers, netting me the playable Vikingo right off the bat. Depending on the game, I don’t mind battle passes as a concept; there’s an undeniable satisfaction in constantly gaining rewards simply by playing. But like everything else in the game, I’ll need to spend much more time with 2K26 to see how much longer it takes to unlock the later tiers, how much VC is required to buy tier skips, and the overall quality of the rewards themselves.

I decided to skip Universe Mode and the Creation Suite due to time constraints; these destinations require much more than a cursory glance to appreciate what Visual Concepts cooked up this year. As I scanned the rest of the package, the phrase that kept popping into my head was “Yep, it’s another WWE 2K game.” That’s neither terrible nor overtly exciting. I’ve largely enjoyed the last few entries, and 2K26 feels on track to at least maintain a status quo of quality. But much like the current TV product, the status quo is growing increasingly stale. Unless 2K26 hides more surprises or mechanical nuance than I could glean, fans are likely in for a perfectly enjoyable but extremely familiar package.