Doom has a reputation of being the ‘turn off your brain’ shooter; when the metal tunes kick in, you hold down the trigger until the walls are coated in viscera and the door at the end of the corridor unlocks. Fire and forget, that’s the name of the game. That image isn’t entirely true of the series - there’s more logic to those shootouts than the surface would suggest - but even producer Marty Stratton explained that “Doom is junk food” at a recent hands-on event. Doom Eternal is ripping apart that reputation. The fundamentals are all there - gore, chainsaws, shotguns that split hellspawn in two - but this sequel is much smarter than its 2016 predecessor. Stratton describes the new game as “junk food with nutritional content”. And boy, do I feel full of nutrients. Tasty, blood-soaked nutrients. [ignvideo url="https://www.ign.com/videos/2020/01/21/doom-eternal-10-minutes-of-intense-gameplay"] There is a lot to unpack in Eternal’s combat loop, but it all comes back to one thing: beautifully grim demon destruction. Foes don’t just burst with the killing blow; they are gradually torn apart with each bullet and bomb. Flappy bits of cheek dangle from the side of bruised Cacodemons, chunks of brain fall away to expose the skeletons of Arachnotrons, and and the skin of a Hell Knight is gradually flayed to reveal its ripped muscles over the course of an extended encounter. [poilib element="quoteBox" parameters="excerpt=Gore%20acts%20as%20a%20diegetic%20health%20bar%20for%20each%20foe."] This, naturally, provides some incredibly gross feedback that makes every weapon in the Doom Slayer’s arsenal a delight to play with. But the gore system is more intelligent than that: it acts as a diegetic health bar for each foe. Each of Doom Eternal’s combat encounters pits you against dozens of demons, and requires you to be perpetually mobile. This means that you may fire a few rounds into a foe but be unable to score the killing blow before having to leap across the arena to a safer spot. When your lap of the area brings you face-to-face with that enemy again, it’s immediately obvious which one has already taken damage and which ones are fresh due to the bullet-riddled flesh and liberal blood-spatter. Against Doom Eternal’s largest enemies, this gore feedback is a godsend. As battles heat up, Hell starts to throw multiple big boys at you, such as the grotesquely obese Mancubus and the lanky Revenants. Being able to take a look at two Mancubi and immediately work out which is the bigger threat is fantastic. The one with broken guns and seven torso wounds can be easily finished with a shotgun blast or two, but if they’re already weak and without guns it may be worth focusing on the healthier threat. [widget path="global/article/imagegallery" parameters="albumSlug=doom-eternal-january-2019-screenshots&captions=true"] This all ties into Doom Eternal’s approach to tension, which ebbs and flows with every passing second. The number of demons crowding your screen is a factor here, but developer id Software mostly ratchets tension through the use of…. resource management. Yeah, I never expected to say that in an article about Doom. The Doom Slayer is kept alive through three resources, as he has since time immemorial (AKA 1993): health, armour, and ammunition. Doom Eternal makes sure you barely have any of it. But, unlike a survival horror in which you’ll only find half a packet of bullets each mission, Doom Eternal is constantly giving you health and ammo. It just so rapidly forces you to spend it that you’re always on the knife edge between life and death, and full and empty magazines. This balance is achieved by Doom Eternal’s elegant combat loop, which refines and builds upon foundations laid by Doom 2016. Glory kills - in which you deal a killing blow by literally tearing demons apart with your bare fists - reward you with health. The bigger the demon, the better the drop. Setting foes on fire with your shoulder-mounted Flame Belch cannon provides you with a scattering of armour fragments to collect. And chainsawing enemies into tiny pieces results in an explosion of ammunition drops that can immediately get you back in the fight. [ignvideo url="https://www.ign.com/videos/2018/08/10/doom-eternal-phobos-gameplay"] These three actions combine and flow to give Doom Eternal a more distinct rhythm to its combat than any previous game in the series. With one eye on all your resource meters, you’ll be finishing off enemies with the very specific kind of kill required to keep you battle ready. The game is even smart enough to automatically pull out the chainsaw the moment you fire your last bullet, which allows you to quickly eviscerate the closest enemy and refill your pockets with buckshot. [poilib element="quoteBox" parameters="excerpt=You%E2%80%99re%20always%20on%20the%20knife%20edge%20between%20life%20and%20death%2C%20and%20full%20and%20empty%20magazines."] There is a lot going on in Doom Eternal’s wider systems. Runes allow you to augment your combat style, providing small enhancements like slow-motion air dives or a longer range on your Glory Kills. Substantially improved traversal mechanics mean that platforming becomes integral to combat; you’ll quickly find yourself chaining together monkey bar swings and rocket salvos. But while all these elements bring well thought-out additions, they only work because the very fundamentals of Doom Eternal’s combat is so excellent. Marty Stratton says that Doom Eternal is junk food with nutritional value, but I think he’s underselling it. Doom Eternal is a delicately balanced gastronomic experience, but it tastes like the best, greasiest burger you ever ate. [poilib element="accentDivider"] Matt Purslow is IGN's UK News and Entertainment Writer. You can follow him on Twitter. 

Mythic Quest: Raven’s Banquet, the Apple Original series from It’s Always Sunny In Philadelphia creators Rob McElhenney and Charlie Day, has been renewed for a second season before its first episodes have released. [ignvideo url="https://www.ign.com/videos/2020/01/07/mythic-quest-ravens-banquet-official-trailer"] The video game studio-set comedy, which is in part produced by Ubisoft’s Film & Television department, will launch its first season in full on February 7. But Apple has already renewed the live-action comedy for a second season, which was announced during the show’s TCA panel (via Deadline). The announcement did not reveal an episode count for the second season, nor a release date, but it will presumably continue to be an exclusive to Apple TV+. Co-created by McElhenney, Day, and Megan Ganz, the first season consists of nine episodes following the development team behind the fictional Mythic Quest. McElhenney stars as the game’s creative director Ian Grimm, who works alongside an ensemble cast including F. Murray Abraham, Community’s Danny Pudi, and ever-popular video game voice actor Ashly Burch. [widget path="global/article/imagegallery" parameters="albumSlug=midseason-tv-2020-34-shows-we-cant-wait-to-watch&captions=true"] Mythic Quest: Raven’s Banquet was first announced at Ubisoft’s E3 2019 conference. Since then only a few details have emerged, including McElhenney assuring fans that he will make It’s Always Sunny “forever” despite his involvement in a new project. [poilib element="accentDivider"] Matt Purslow is IGN's UK News and Entertainment Writer. You can follow him on Twitter. 

The first set of Cyberpunk 2077 Funko Pops have been revealed and they’ve been given a very familiar release date.

Yes, announced at London Toy Fair, the Cyberpunk 2077 Funko Pops will be available on April 16, 2020. That’s Cyberpunk 2077’s original release date before it got another delay recently, if you didn’t know.

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So while you won’t be able to play the game itself in April you could at least bring a little bit of its futuristic world into your life via Funko Pops.

Similar to McFarlane’s Cyberpunk 2077 action figures, the Funko Pops will include both V and Johnny Silverhand, who is the digital ghost that accompanies main character V throughout the game and is played by Keanu Reeves.

Unlike McFarlane’s figures, however, the Funko Pops include both the male and female versions of V, as well as two different Johnny Silverhands. One of them sports sunglasses and dual-wields pistols, while the other is calmly resting on one knee.

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If you’re after more Keanu Reeves then check out our history of his appearances in games. Or if you need something else to tide you over until Cyberpunk 2077 comes out then we have seven cyberpunk games you should start playing.

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Chris Priestman is a freelancer who writes news for IGN. Follow him on Twitter.

Disney+ is set to launch in the UK and several other territories across Western Europe on March 24, which is a whole week earlier than the original release date that was announced. The House of Mouse recently updated its rollout plans for Europe, confirming that the release date for the streaming service has been brought forward for the United Kingdom, Ireland, France, Germany, Italy, Spain, Austria and Switzerland, while much of the rest of Europe will gain access to the platform by summer. Pricing has also been confirmed as £5.99/€6.99 per month or £59.99/€69.99 for an annual subscription, per Deadline. [ignvideo url="https://www.ign.com/videos/2018/11/08/disney-is-disneys-streaming-service"] The streaming service is expected to launch with a library of content from Disney, Pixar, Marvel, Star Wars, and National Geographic, including plenty of original content such as Star Wars' live-action series The Mandalorian, the Toy Story short series Forky Asks A Question, the live-action Lady and the Tramp, and The World According to Jeff Goldblum, though certain titles may vary by territory due to regional differences. In its first year and beyond, Disney+ is slated to add Frozen 2 and a documentary on the making of the film, a Toy Story Bo Peep short, WandaVision starring Elizabeth Olsen and Paul Bettany, The Falcon and The Winter Soldier starring Anthony Mackie and Sebastian Stan, a Loki series starring Tom Hiddleston, a series based on Rogue One's Cassian Andor starring Diego Luna and Alan Tudyk, and much more. [ignvideo url="https://www.ign.com/videos/2019/11/11/disney-plus-how-to-watch-on-tvs-game-consoles-and-more-ign-now"] Despite suffering a few technical glitches, Disney+ signed up more than 10 million subscribers on its first day of operation in the United States, Canada, and the Netherlands, where the direct-to-viewer service launched on November 12. Further statistics indicate that, with an immense catalogue of titles available at launch, Disney+ users collectively spent 1.3 million hours streaming and watching the films and shows available to them on the first day of release. [widget path="global/article/imagegallery" parameters="albumSlug=disney-app-screenshots&captions=true"] For more on Disney+, check out our reviews of The World According to Jeff Goldblum, High School Musical: The Musical: The Series, The Imagineering Story, Forky Asks a Question and Marvel's Hero Project. Alternatively, read our detailed write-up and final verdict of Disney's new streaming service. [poilib element="accentDivider"] Adele Ankers is a Freelance Entertainment Journalist. You can reach her on Twitter.

The creative director of the latest two Splinter Cell games has returned to Ubisoft after leaving the company in 2019.

VGC reports that Maxime Beland is one of the people who will make up Ubisoft’s newly expanded and restructured editorial team that oversees creative decisions on all its games.

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Beland started as a game tester for Ubisoft back in 1998. He worked there for the next 20 years, serving as creative director on Rainbow Six: Vegas, game design director on Assassin’s Creed, and creative director for Splinter Cell: Conviction and Splinter Cell: Blacklist.

Before he left Ubisoft in February 2019 to become a creative director at Epic Games, Beland provided creative direction on Far Cry 4, Far Cry Primal, and Far Cry 5.

Beland left Epic Games in October 2019 and has now reportedly rejoined Ubisoft. Whether that will lead to a resurrection of Splinter Cell is unknown. But there were signs that Ubisoft was gearing up for a new Splinter Cell game in 2018.

In 2019, the creative director tweeted that he was working on the next Splinter Cell game, but then told IGN that he was just joking. No mention of a Splinter Cell game in development has come since.

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Ubisoft's newly restructured editorial team is reportedly an effort to encourage more diversity in Ubisoft’s game lineup after the disappointing sales of Ghost Recon: Breakpoint and The Division 2. It was this disappointment that allegedly led to the delay of Watch Dogs Legion, Gods and Monsters, and Rainbow Six Quarantine. An unannounced project that had been in the works for three years at Ubisoft was also cancelled around the same time for the same reason.

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Chris Priestman is a freelancer who writes news for IGN. Follow him on Twitter.

Crisis on Infinite Earths has just ended (read our full crossover review here), but Arrowverse fans have another big event to look forward to in January. Arrow is set to wrap up its eighth and final season on January 28. And somehow, the series will have to do so without its lead hero: Oliver Queen sacrificed his life to end the Crisis, leaving his friends and family to mourn the hero who saved Star City and the entire multiverse. We recently chatted with executive producer Marc Guggenheim about the epic conclusion to Crisis and how it will change the Arrowverse. During that chat, we also touched on Arrow's series finale and the challenge of wrapping up the show in the wake of Crisis. We were curious how Guggenheim and showrunner Beth Schwartz tackled the challenge of following up Crisis and wrapping up Oliver Queen's journey after the character has already died (twice) in Crisis. Does Arrow even necessarily need a separate finale at this point? Even Guggenheim admitted that the final episode was a difficult nut to crack. [ignvideo url="https://www.ign.com/videos/2020/01/15/crisis-on-infinite-earths-links-dc-tv-and-movie-universes-ign-now"] "We always had a plan in that we knew that [during] Crisis, Oliver would die," he said. "We knew that the series finale would be essentially like a coda... a sort of an epilogue. We knew a variety of different elements to the finale, but one thing we didn't have was what I called a central theme. We didn't have this principle that would tie together all the elements that we had already planned upon." Guggenheim continued, "I was in the editing room one day; I'm watching the latest cut, and of course, it begins as almost all the Arrow episodes do, and for the umpteenth bajillionth the time, I hear Stephen [Amell] say, 'I returned home with only one goal, to save my city,' and it just all clicked for me in that moment. I realized, oh, that's the central principle of the finale: Oliver achieves his mission. He saved the city. He actually saved the universe. Once Beth and I had that, that was the central rubric to organize the whole finale around. It's an unconventional finale because we kill off our protagonist two episodes before the actual finale, but at the end of the day, it felt just really appropriate." [widget path="global/article/imagegallery" parameters="albumSlug=crisis-on-infinite-earths-every-cameo-in-the-crossover&captions=true"] Guggenheim even revealed a new detail about "Fadeout," telling us the episode will bring back the flashback scenes one last time and explore a previously untold story set during the early days of Season 1. While it's unclear how or even if Oliver will appear in the present, at least the flashbacks will give Amell one final opportunity to explore his character's journey in the Arrowverse. "We're going to honor the flashback convention of the show by flashing back to events in very early in Season 1, and what's nice about that is it brings everything full circle," said Guggenheim. "I'm really proud of it. It was a really enjoyable script to write, for Beth and I to write. James Bamford just killed it, and all the actors brought their A-game. I'm looking forward to everyone checking it out." [ignvideo url="https://www.ign.com/videos/2019/07/20/arrow-cast-toasts-to-final-season-looking-back-at-the-series-best-moments-comic-con-2019"] For more on the epic Crisis finale, check out our review for the final two episodes, learn more about the new Earth-Prime and see what Amell thought of the ending. Arrow's series finale, "Fadeout," airs January 28 at 9 p.m. ET/PT on The CW. [poilib element="accentDivider"] Jesse is a mild-mannered staff writer for IGN. Allow him to lend a machete to your intellectual thicket by following @jschedeen on Twitter.

Developer Techland has announced that it has delayed the launch of Dying Light 2. The zombie survival game was originally due to release Spring 2020, and Techland has offered no indication as to when it now plans to release the game.

Hey Survivors! Here's the Dying Light 2 Development Update. pic.twitter.com/CKMkAe2eD7

— Dying Light (@DyingLightGame) January 20, 2020

Posted on Twitter, a statement from CEO Paweł Marchewka said: "We were initially aiming for a Spring 2020 release with Dying Light 2, but unfortunately, we need more development time to fulfill our vision. We will have more details to share in the coming months, and will get back to you as soon as we have more information. Dying Light 2 had never been given a firm release date, but the Spring 2020 window was fast approaching. By not providing an updated release date or window, Techland has freed itself from time constraint and, in theory, given itself indefinite time in order to bring Dying Light 2 to the standards that the team is chasing. While internally things are no doubt more complicated, it's clear that the team has decided more time is required to work on the project. [ignvideo url="https://www.ign.com/videos/2019/06/09/dying-light-2-gameplay-trailer-e3-2019"] This is the fifth game to be delayed within under a week; the last few days have seen slips from Final Fantasy 7 Remake, Iron Man VR, Marvel's Avengers, and Cyberpunk 2077, the latter two having being delayed a few months beyond their initial planned dates. [widget path="global/article/imagegallery" parameters="albumSlug=dying-light-2-e3-trailer-screenshots&captions=true"] Dying Light 2 is still looking promising, despite the delay. When we last saw it at E3 2019 we discovered that its branching story may mean you only see 50% of its content in your first playthrough. [poilib element="accentDivider"] Matt Purslow is IGN's UK News and Entertainment Writer. You can follow him on Twitter. 

HBO has officially cancelled Confederate, the next series from Game of Thrones showrunners David Benioff and D.B. Weiss. Speaking to TVLine, HBO president Casey Bloys confirmed that the network would not be moving forward with the controversial TV show, described as a drama that "chronicles the events leading up to the Third American Civil War." [ignvideo url="https://www.ign.com/videos/2019/04/17/the-best-deaths-on-game-of-thrones"] Confederate was pitched as a series that would present an alternate timeline for history, in which the southern states successfully seceded from the Union and created a nation where slavery "evolved into a modern institution." The show received strong backlash following its original announcement. Amid growing criticism, HBO stepped in to defend the show, though Bloys admitted that the initial announcement had been "misguided" and they "could have done a better job with the press rollout" in light of the sensitive subject. A short while later, the project was seemingly put on the back burner. [widget path="global/article/imagegallery" parameters="albumSlug=game-of-thrones-every-major-characters-first-and-last-appearance&captions=true"] In the meantime, Benioff and Weiss have moved on to several other projects, as the in-demand duo stepped down from their planned Star Wars trilogy to follow-up on a number of new commitments in their schedule after signing a "historic deal with Netflix." As for the Game of Thrones universe, there are still a whole bunch of spinoffs and series' currently in the works, including a prequel series called House of the Dragon, based on George R. R. Martin's Fire & Blood fantasy novel, though we might have some time to wait for that release. For more, check out our explainer on when House of the Dragon takes place and some of the events we might see in the prequel. [poilib element="accentDivider"] Adele Ankers is a Freelance Entertainment Journalist. You can reach her on Twitter.

A dad spent a weekend building a custom pad for the Xbox Adaptive Controller so his daughter could use it to play The Legend of Zelda: Breath of the Wild on Nintendo Switch.

Rory Steel, who is the head of Jersey Digital Academy, tweeted his progress as he created a custom rig attached to the controller that Microsoft designed to “meet the needs of gamers with limited mobility.”

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His plan was to build a controller that made playing the Nintendo Switch accessible to his daughter, who Steel told Channel 103 has “fine motor neurone issues.”

He started with some electronic parts purchased from eBay and the Xbox Adaptive Controller.

This weekends project. Make a @Nintendo #switch accessibility controller for my daughter using @Microsoft #adaptiveController and some @eBay parts. pic.twitter.com/YHN38SG9dZ

— Rory Steel (@JerseyITGuy) January 18, 2020

He added a solid base for all the electronic parts that sits above the Xbox Adaptive Controller. That base holds two joysticks: one moving the playable character, the other moving the camera.

Controller success! Buttons tomorrow as I need a slightly larger drill bit than standard. Off the @BandQ then trials being in the morning. #accessibility @Nintendo #switch @Microsoft #adaptiveController pic.twitter.com/gxQPjZlP20

— Rory Steel (@JerseyITGuy) January 18, 2020

After getting more parts from a hardware shop, Steel added 16 buttons that go around the outside of the base, each with a different function.

That's enough for tonight. Some serious soldering and wire management tomorrow morning for some game testing in the afternoon. My daughter is desperate to try but we've kept it a secret from her brother who's been itching to play #ZeldaBreathoftheWild. @Nintendo @Microsoft pic.twitter.com/bgIC9h9aH3

— Rory Steel (@JerseyITGuy) January 18, 2020

After some “serious soldering and wire management,” Steel moved onto testing and then filmed his daughter’s reaction as she finally got to play Breath of the Wild.

Finished! Ava gives my homemade #accessibility controller V1.0 the thumbs up. She can play @Nintendo #BreathoftheWild on her #switch like her friends now. All thanks to @Microsoft #adaptiveController #XAC @brycej @ArranDyslexia @shanselman pic.twitter.com/dOhGnUFZa0

— Rory Steel (@JerseyITGuy) January 19, 2020

Steel’s weekend project has been noticed by head of Xbox Phil Spencer, who tweeted in response, “Incredible. And what a smile.”

He’s since been approached by Microsoft and Logitech, who want to help him build a higher-tech version 2.0 of his custom controller that could be used by other people with mobility impairments.

Steel told Channel 103 that he’s going to take the companies up on their offers, but adds “the project was always supposed to be something that anyone across the world could use. What I still want to do is a low-tech version, so people at home can have a go.”

We named the Xbox Adaptive Controller the most innovative piece of tech in 2018. Microsoft even went so far as to ensure the packaging it comes in is accessible for people with limited mobility.

[poilib element="accentDivider"] Chris Priestman is a freelancer who writes news for IGN. Follow him on Twitter.

With Black Widow finally set to star in her own solo MCU movie this year, super-spy-turned-assassin Natasha Romanoff has never had a bigger spotlight. What better time for Marvel Comics to launch a new ongoing Black Widow series. We can exclusively reveal that Marvel will be debuting a new volume of Black Widow in April, written by Kelly Thompson (Captain Marvel) and drawn by Elena Casagrande (Catwoman) and with cover art from Adam Hughes. Marvel's solicitation for Black Widow #1 teases: Bestselling Eisner-nominated writer Kelly Thompson (CAPTAIN MARVEL; DEADPOOL) and rising star artist Elena Casagrande (CATWOMAN) launch a new BLACK WIDOW series that changes everything! Natasha Romanoff has been a spy almost as long as she’s been alive. And she’s never stopped running, whether she was working for the good guys…or the bad. But Natasha’s world is about to be upended. Beyond San Francisco’s Golden Gate lies a mystery that only the Marvel Universe’s greatest spy can solve. Don’t miss the heartbreaking thrill ride of 2020! [caption id="attachment_2290177" align="aligncenter" width="1578"] Black Widow #1 cover by Adam Hughes. (Image Credit: Marvel Comics)[/caption] While Natasha has remained active in the Marvel Universe in recent years, even following her apparent death in 2017's Secret Empire, it's been a while since she's starred in an extended solo series. We were able to chat with Thompson via email to learn more about this new book and whetehr Thompson feels she's cracked the code for an ongoing Black Widow comic. Thompson told us, "I think Black Widow is an incredibly rich character in that she works well in a lot of different genres, but that can also make her a little tricky – if you try to do too much with her instead of committing to a clear vision I think you can run into trouble. I’m very interested in the duality of Natasha… so look for that to be a recurring theme in this first arc as she struggles against that and leans into it." While the Marvel Universe will be a very busy place in 2020, especially with the buildup to the Empyre crossover this spring, Thompson says Black Widow is designed to be an accessible, standalone book. "We have some high profile guest stars (and of course some impressive villains) but this story has to stand on its own for a lot of reasons that will become clear immediately in issue one… which starts off feeling like a classic Natasha story and then quickly becomes quite unlike any story we’ve ever seen for her before." [widget path="global/article/imagegallery" parameters="albumSlug=red-guardians-connection-to-black-widow-and-captain-america&captions=true"] According to Thompson, that theme of duality extends to the book's visual style. Thompson teases "something we never get to see with Natasha… a softer side is maybe the best way to describe it? Elena is a super talent, but I think this is her strongest work to date. It’s incredibly bold and confident…which is exactly what a Nat book demands." Marvel is mostly keeping the plot of Black Widow under wraps for now, though they did indicate the first major story arc involves a group of villains forming an alliance with the shared goal of destroying Natasha Romanoff. However, Thompson says not to expect a story in the vein of Batman: Knightfall or Spider-Man: The Gauntlet, nor will all the villains be traditional Black Widow antagonists. "What I can say is that while a couple of them are the villains you might expect in a Black Widow story, there are some curve balls in there too. I can also tease that the villains have a very unique approach to trying to take Nat out. And, as villains are wont to do, ultimately not all of them agree." The new series will draw at least some inspiration from the upcoming movie, as both Russian super-soldier Red Guardian and Natasha's fellow Red Room recruit Yelena Belova will play a role in the book. Thompson admitted she was initially reluctant abut including Red Guardian, but the combination of editor Sarah Brunstead and seeing David Harbour in costume changed her mind. [ignvideo url="https://www.ign.com/videos/2019/12/04/marvels-black-widow-whos-who-in-the-new-trailer"] Thompson said, "Red Guardian and Yelena were characters I was on the fence about using, in part because while The Red Room and all of Black Widow’s history will always be important, I was interested in moving away from that stuff. Not because I don’t like it but just because I feel we’ve already seen it before. But I found a way that really made sense to include Red Guardian and Yelena that excited me… so that felt like the best of both worlds. Especially when it comes to Yelena I’m pumped about that development (and not just because I think actress Florence Pugh is incredible!)." While many Black Widow stories have dealt with Natasha's shadowy past and her often less than trustworthy memories, Thompson is adamant the new series will look forward, not back, as it chronicles this hero's journey. "We’ve all seen it before a bunch of times – in great stories and less great stories – I see no need to go there again. This story does play with memory and the very fabric of who Natasha is… but I think we’re doing it in a twisty new way that’s going to be a real emotional (and physical) journey for her and at the end of our first arc expect to see her left in a very different state than where she began…and I believe a bit of a different role than we’ve ever seen for Natasha before. It’s risky but I’m excited and with the incredible team we have on board I’m feeling confident we can pull it off. This is a story I’ve had in mind for Nat for years – it’s the kind of story - as fan - that I’ve always wanted to see." Black Widow #1 will hit stores in April 2020. [ignvideo url="https://www.ign.com/videos/2020/01/14/marvel-studios-black-widow-legacy-featurette"] For more big comic book news, find out the best-selling comics of the 2010 decade, see why DC is teasing the final battle battle between Batman and the Joker and learn why Empyre could offer a glimpse of the MCU's future. [poilib element="accentDivider"] Jesse is a mild-mannered staff writer for IGN. Allow him to lend a machete to your intellectual thicket by following @jschedeen on Twitter.