• New Untitled Marvel Movies Announced Through 2024, Little Mermaid Remake Release Date Revealed

    Disney updated its release calendar today, revealing the release date for its Little Mermaid live-action remake along with several new Marvel movies.

    The Little Mermaid is now set for a May 26 release date, with two new Marvel movies schedule of July 26 and November 8, 2024 respectively. Elsewhere, Disney finally revealed that the Bob's Burgers movie would be in theaters on May 27, 2022.

    One of the new Marvel movies could well be Captain America 4, which will feature Sam Wilson as Captain America. Anthony Mackie closed a deal to appear in the next Captain America movie earlier this year following the conclusion of The Falcon and the Winter Soldier. It will reunite Mackie with showrunner Malcolm Spellman, who will write the script for the new film.

    The slate takes Disney all the way through 2028, with two untitled Star Wars films planned for 2025 and 2027. Rogue Squadron is still set for December 22, 2023.

    As with every studio, Disney's release schedule has been fluid over the course of the COVID-19 pandemic, with a multitude of movies seeing delays. Shang-Chi's recent success in theaters is a much-needed win that appears to have paved the way for Marvel's Eternals to also be released exclusively in theaters.

    Disney still has several upcoming movies in 2021, the most notable of them being Eternals, which has a November 5 release date. For more info, check out our calendar featuring upcoming movie release dates, trailers, and more.

    Kat Bailey is a Senior News Editor at IGN

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    Marvel’s Kraven the Hunter Explained: Why Aaron Taylor-Johnson’s Spider-Man Villain Is Getting a Solo Movie

    2018's Venom proved there's a lot of money to be made in an adult-oriented Spider-Man movie that doesn't actually feature Spider-Man, so it should come as no surprise Sony is putting all of its weight behind the fledgling cinematic universe known as "The Sony Pictures Universe of Marvel Characters." That includes a movie geared toward one of the oldest and most iconic Spidey villains around – Kraven the Hunter. Aaron Taylor-Johnson will play the character, also known as Sergei Kravinoff, in a Spider-Man spin-off movie for Sony.

    And if that weren't enough, it appears Kraven will be one of the main villains in Insomniac's next Spider-Man game. Clearly, the spider-hunting business is booming.

    Who exactly is Kraven, and why does he deserve his own movie? Let's take a closer look at this vicious hunter and why he's one of the very few Marvel characters to have the honor of sending Spider-Man to the grave. Here are the topics we cover:

    • Who Is Kraven the Hunter?
    • Kraven's Powers and Abilities
    • Sergei Kravinoff's Origin
    • Why Spider-Man: Kraven's Last Hunt Changed Everything
    • Kraven's Family Legacy
    • Kraven's Second Death
    • Kraven in Marvel Film, TV and Games

    Who Is Kraven the Hunter?

    With a name like "Kraven the Hunter," it's not difficult to figure out this particular Marvel villain's shtick. Sergei Kravinoff fancies himself the greatest hunter in the world. And to cement that reputation, he's set his sights on the most dangerous and elusive prey of them all – Spider-Man.

    For most of his costumed career, Peter Parker has dodged Kraven's many schemes and managed to stay one step ahead of this master huntsman. He's just lucky Kraven chooses to hunt with honor; otherwise, his head might have been mounted on a wall years ago.

    Sergei Kravinoff fancies himself the greatest hunter in the world. And to cement that reputation, he's set his sights on the most dangerous and elusive prey of them all – Spider-Man.

    Kraven's Powers and Abilities

    When Kraven boasts of being the world's greatest hunter, he's not just blowing smoke. He's spent decades honing his craft. He's a master tracker and is skilled with all manner of armed and unarmed combat styles. Kraven will use guns when necessary, but he tends to prefer battling his prey up close and personal.

    Kraven also augments his already impressive physical skills with a special potion. That potion grants him enhanced strength and senses, while also significantly slowing his aging. That's why a man old enough to remember fleeing the Russian Revolution of 1917 still looks so robust and strong a century later.

    Sergei Kravinoff's Origin

    Kraven first debuted in 1964's The Amazing Spider-Man #15, making him one of many iconic Spider-Man characters created by Stan Lee and Steve Ditko. That issue depicts Kraven as the half-brother of fellow Spider-Man rogue The Chameleon. The two siblings join forces to lure Spider-Man into the open and kill him, but Spidey proves too wily for their tricks.

    That basically sets the tone for many subsequent Kraven appearances. No matter how often Kraven resurfaces and tries to prove himself the ultimate hunter, he can't help but underestimate his foe. Even when Kraven joins the Sinister Six, the group's constant in-fighting prevents them from achieving their shared goal.

    As crafty as Spider-Man is, one could argue the only reason Kraven has never succeeded in killing him is that Kraven is too honorable. He avoids guns where possible, and he prefers to confront his prey directly rather than striking from a distance. Unlike many Marvel villains, he refuses to take shortcuts.

    Over time, that repeated cycle of failure begins to weigh on Kraven's mind. The psychological toll of his unnaturally long lifespan doesn't necessarily help, either. All of that feeds into what most would consider to be the ultimate Kraven vs. Spider-man story, Kraven's Last Hunt.

    Why Spider-Man: Kraven's Last Hunt Changed Everything

    The 1980s were a pivotal time for Marvel and DC's superhero comics, with stories like The Dark Knight Returns, Saga of the Swamp Thing and X-Men: God Loves, Man Kills bringing a new level of depth and sophistication to the table. For Spider-Man, 1987's Kraven's Last Hunt (also sometimes titled Fearful Symmetry: Kraven's Last Hunt) marked a major turning point for the franchise.

    With his health finally failing, Kraven makes one final attempt at killing Spider-Man and proving himself the superior opponent. Kraven succeeds in shooting Spider-Man and burying him alive, only to don the hero's black costume and play the role of vigilante.

    Spidey eventually frees himself, Kill Bill-style, and stops Kraven from murdering a minor, misunderstood villain named Vermin. Kraven finally accepts the truth – that Spider-Man is the more honorable of the two – and commits suicide. Not your typical Spider-Man ending, to say the least.

    Creators J.M. DeMatteis and Mike Zeck later revisited their story in 1992's Amazing Spider-Man: Soul of the Hunter. There Spider-Man learns Kraven's troubled soul remains trapped in limbo because of his suicide, forcing our hero to battle the hunter's reanimated body in order to help Kraven's soul finally achieve peace.

    But as is so often the case with superhero comics, that rest was not to last.

    Kraven's Family Legacy

    While Kraven himself died in Kraven's last Hunt, his surviving family members have carried on his legacy. Marvel debuted two new versions of Kraven during the '90s, both of whom are the sons of Sergei Kravinoff. Sergei's legitimate son, Vladimir, was raised in luxury in Russia and becomes the Grim Hunter as an adult. His illegitimate son Alyosha is a mutant who grew up in exile in the African jungle and takes up the Kraven mantle as an adult.

    Later, Marvel introduced a third child of Kraven, his daughter Ana. Ana's debut leads into an extended 2009 storyline called Spider-Man: The Gauntlet. Similar to Batman: Knightfall, The Gauntlet sees Spidey clash with a number of long-time foes, not realizing a secret mastermind is orchestrating these battles to slowly wear him down physically and psychologically. That culminates in The Grim Hunt, where Kraven's wife Sasha and her children use the blood of Spider-Man to resurrect Kraven and restore their family.

    Unfortunately, Kraven is less than thrilled to be alive again. After realizing the blood in question was taken from Peter's clone Kaine, Kraven fears he's become cursed by "unlife." Kraven kills Sasha and Vladimir, leaving Ana to hunt Alyosha and prove herself as his one worthy heir.

    Kraven's Second Death

    Since his resurrection, Kraven has continued to play a role in various Marvel titles, not always as a villain. The master huntsman is consumed by his quest to lift the curse plaguing his second life. In the process, he winds up becoming a supporting character in the comedic series The Unbeatable Squirrel Girl.

    Kraven's resurrection eventually feeds into 2019's Amazing Spider-Man: Hunted. There, readers learn Kraven commissioned dozens of clones of himself from The High Evolutionary. After pitting the clones against one another, one survivor emerges as his true heir – the Last Son of Kraven.

    Having finally found his heir, Kraven arranges an elaborate hunt inside New York's Central Park, capturing numerous animal-themed supervillains and allowing the world's wealthiest hunters the chance to pilot drones and hunt the captive villains for sport. But Kraven, naturally, has ulterior motives.

    The hunters learn too late that their own lives are tethered to their drones. The entire hunt is a ruse aimed at punishing those who hunt without honor or courage. Kraven also hopes to use the hunt to finally lift his curse by forcing Spider-Man to kill the Lizard. Once more, Spidey outwits his foe and proves there's always another way.

    Echoing the events of Kraven's Last Hunt, Kraven dons a Spider-Man costume once again, but this time attempting to honor Peter Parker's example. Ironically, that leads to his death when the Last Son of Kraven attacks and kills the man he believes is Spider-Man. Now there's only one Kraven left in the Marvel Universe, and he has a much more persona grudge against Spidey.

    Kraven in Marvel Film, TV and Games

    • TV: Kraven has appeared in nearly every single animated Spider-Man series, including Spider-Man and His Amazing Friends, Spider-Man: The Animated Series, The Spectacular Spider-Man, Ultimate Spider-Man, and Marvel's Spider-Man. Surprisingly, Kraven didn't appear in the original 1960s cartoon, but only because of rights issues stemming from a prior appearance in an Iron Man-focused episode of The Marvel Super Heroes. Instead, a similar character named Harley Clivendon was added to the Spider-Man series.
    • Games: Despite being among the oldest Spider-Man villains, Kraven didn't make the jump to games until the early 2000s, appearing in titles like Spider-Man 2: The Sinister Six on the Game Boy and certain versions of 2002's Spider-Man (based on the Sam Raimi movie). Following those early appearances, Kraven has appeared in more movie tie-in-games, comics-inspired games like Spider-Man: Web of Shadows and Spider-Man: Shattered Dimensions, and mobile titles like Marvel Future Fight and Marvel Puzzle Quest.

    Kraven's latest and possibly greatest video game role will come in the Playstation 5 game Marvel's Spider-Man 2. The reveal features an unseen Kraven narrating about his desire to find a worthy opponent – and his sights are set on Peter Parker and Miles Morales. But as to whether Kraven is the true villain of the sequel or part of a larger puzzle, we'll have to wait until 2023 to find out.

    Kraven has yet to make a live-action Marvel appearance, unless you count the infamous, short-lived stage musical Spider-Man: Turn Off the Dark. However, the villain was teased in 2014's The Amazing Spider-Man 2, where his spear can be seen alongside other relics of the Sinister Six.

    Now it appears Kraven will debut in his own solo movie as part of the Sony Pictures Universe of Marvel Characters. MCU veteran Aaron Taylor-Johnson has been cast as Sergei Kravinoff, and Triple Frontier's J.C. Chandor is directing. It's unknown how much, if at all, Spider-Man will appear in the film. But if the last few decades of Kraven stories have taught us anything, it's that this hunter's psychological problems run far deeper than his rivalry with Spider-Man.

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    Tales of Arise Review

    I’ve got a long history with the Tales series. I was absolutely obsessed with Tales of Symphonia back on the GameCube, beating it at least four times, and I’ve been chasing that special kind of JRPG love for years – mostly without success. I’ve played Abyss, Graces, Hearts, and the acclaimed Vesperia, but they all felt like too much of a retread. Even Berseria, which felt like a good refresh for the series, didn’t do much for me. But Tales of Arise has finally rekindled that flame, feeling both like a brand-new game with an outstanding story and excellent combat while also making good use of the best ideas that have kept the series going for this long.

    The Tales series is known for how well its stories are told, and Arise is no exception. In fact, Arise is now my favorite in the series, exceeding Symphonia. It centers around Alphen, a slave with a mysterious past who cannot feel pain. He is charming and helpful, going out of his way to assist anyone in need and acting as a protector of his fellow slaves. He shares the lead role with Shionne, a member of the slaver race who cannot be physically touched without cursed magic thorns erupting from her body. Watching their relationship grow from contentious but necessary to actually becoming friends is one of my favorite parts of any game in 2021.

    The other characters also learn and grow, which felt good to witness. There are not just worldwide stakes but interpersonal ones as well; everyone has their damages and they must learn how to cope and deal with them. Without spoiling anything, the story touches on the horrors of war and slavery, the long-lasting affects of colonization on indigenous peoples, the realization of one’s own privilege and how it relates to others and the less fortunate, one’s purpose in a damaged world and what they can do to help, and more. But that’s not to say everything is dour – there are plenty of moments that made me laugh out loud or smile because of how charming the well-rounded and flawed characters can be, and they’re made even better by a stellar voice cast.

    The painted, almost watercolor look really makes Arise stand out from previous entries and the art direction makes everything easy to understand. The world is massive, too, and exploring all of its regions takes around 50 hours.

    If I had to find one thing to complain about, it’s the small but frequent localization issues. For instance, sometimes the lip synching is off – I couldn’t tell if it was a timing thing or they just never animated the characters to sync with the English voice acting. I also caught the occasional typo in the subtitles, or noticed a character would say a word that was not what was written in the subtitle. But other than that, Arise seems very well polished.

    Movement and attacks feel like a combination of traditional Tales combat and a character-action game like Devil May Cry or Bayonetta.

    One area where it really shines is in how much better combat feels than in previous Tales games. While Arise maintains the familiar circular arena, actual movement and attacks feel more fluid than before, more like a combination of traditional Tales combat and a character-action game like Devil May Cry or Bayonetta. For instance, the perfect dodge mechanic gives you a second of slow-motion after an enemy’s attack and teleports you into range for a counterattack. The classical and rock-inspired music during fights goes along well with this, making it all feel exciting.

    Arise continues to use the free camera that debuted in Berseria, which makes the use of Artes, or special moves, much easier to aim in the midst of a fight. Using Artes and perfect dodges will build a meter that puts your character in an overdrive state that gives you a costless use of Artes and access to a Mystic Arte, a kind of finishing move. On top of that, Alphen has a risk-reward mechanic of expending his health in order to strengthen his attacks.

    Another of Arise’s clever new additions is that all six characters come with a special skill mapped to the D-pad that is used to counteract anything an enemy can do. For instance, Rinwell the mage has an interruption ability that not only stops an enemy from casting a spell but steals it, allowing Rinwell to cast it during that fight. Or, if you run into a shielded enemy, Law’s ability can break through that shield, opening the enemy up for damage. And while you can only have four of the six characters in battle at a time, you can still use all six of their skills at any time. (You can also open up the menu during battle and switch out any character you’d like, or even change out what Arte a character has equipped, so letting us use all of their abilities at once just saves us the hassle of manually switching them out.)

    There were many moments where I said, “Cool!” out loud, to no one but my dog.

    This combat sundae is already expansive and wonderful to engage with (there were many moments where I said, “Cool!” out loud, to no one but my dog) and they’ve topped it with the cherry of flashy combo moves between two characters which looks more like something out of Guilty Gear Xrd instead of an RPG. There are so many extravagant effects and flourishes that I worried at first that it would be easy to get lost in the chaos of it all, but it remains so readable that I never once lost track of what I was doing or where my character was. It’s very friendly to learn, too – whenever one of these new mechanics pops out, a tutorial comes along with it to get you more familiar with it while adding an entry into the menu in case you, like I did, forget how to pull something off. (This kind of thing isn’t all that uncommon in modern games but I always appreciate it.) Further along, an arena becomes available where you can tackle solo and group challenges, which helped me understand the flow of combat even better.

    After grasping the new combat system, the ultimate test of skill comes in the form of two things: big monsters that you can find in the open world, and boss battles. Usually coming at the end of each area, bosses typically have a wider combat arena than normal and area-of-effect skills that can take out your whole party if you’re not careful. While these fights might take more effort, they never overstay their welcome or feel unfair. Every boss fight feels like a culmination of the area it takes place in, from making good use of the new abilities you’ve learned there to expanding how the enemies you’ve fought there use their attacks.

    Even when you’re not actively fighting, everything you do feeds back into the combat. There’s a crafting system for making better weapons with materials found from ore around the map and from items dropped by enemies. There’s a cooking system that gives various bonuses from attack to defense and even buffs for finding better materials. There are cute little owls scattered about that give you costume customization pieces, which in itself does not give you any sort of combat bonuses, but collecting enough will unlock other useful things to use in combat. And that’s not even mentioning walking off the beaten path to find items and rare monsters that drop even better loot. I never once felt like anything I did was wasting my time; in fact, I intend to go back for more so that I can play at a more leisurely pace and soak in everything I want.

    Though exploring the world is fun to do, Arise does have an expansive fast-travel system that takes a lot of the slog of backtracking out of the equation. It’s just one of the many quality-of-life improvements over previous Tales games that kept the pace of the story and action going over the entire 50 hours.

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    God of War Ragnarok Director on How the Sequel Will Further Explore Kratos and Atreus’ Story

    Though Kratos' story in the overarching God of War mythos is built upon tragic losses in his family, God of War 2018 gave the Spartan warrior a brand new familial challenge – taking care of his son, Atreus, after the death of Faye, Atreus' mother. What followed was a deeply personal story of Kratos learning how to be a parent, what that responsibility entails, and some shocking truths about his current family.

    Ragnarok doesn't pick up immediately after 2018, as the gameplay trailer showed, but that intervening time is nonetheless important and integral to the developments of Kratos and Atreus' ongoing personal story, which saw some dramatic shifts at the end of the last game thanks to new revelations.

    "Since these characters are going on a journey, we want them to progress, change and have setbacks. Even the simple thing of, what if we extrapolate what's been happening during Fimbulwinter," Ragnarok Director Eric Williams told IGN in an interview after the trailer's reveal. "Do you think Kratos has just had the kid hanging out not doing anything? They've been putting in work. Kratos' very simple lesson is that Spartans are never on their back. This has been distilled into Atreus, but [Kratos has had this growth that even though] the way he was raised was just brutal, it doesn't need to be that way now. The same lessons can be taught…he could just stick to his old ways and just beat it into him, but the kid will leave. Kratos wants to hold him tight. The kid wants to go, but Kratos knows what that looks like."

    Spoilers for God of War 2018 follow.

    This back and forth of their relationship looks to continue to be paramount to Ragnarok's story, particularly when it comes Atreus' identity and the lack of knowledge Kratos had about that. Those truths, which come toward the end of 2018's story, and the fallout of revelations and new questions that followed will be the bedrock of God of War Ragnarok's story.

    "One of the things that really clicked for me was this idea that we see him grow so much at the end of the last game, but nobody really comes to him once he finds out that the kid is Loki that his wife didn't tell him the truth. This person that he trusted his life with, she still held a secret for him," Williams explained of the territory he wanted to explore in Ragnarok.

    "Now he can't ask her that, he can't ask her why so he has to hold that deep down. He's had these other traumas, and now he has this. It's very mental, for the guy that wants to beat up problems, these are hard problems for him to solve," he continued. "He has questions, too. Who is he supposed to ask? As you could see from the trailer, we built that into it. Fans have a lot of questions. We haven't shown anything for a very long time. We want to give them a lot of answers, but then we wanted to pose a lot of new questions at the same time."
    This relationship between questions, answers, and the truth of them both is something core to Williams' interest in exploring the world. It's a curiosity that stems from a belief in being curious, and how fascinating it can be to engage with curious characters.

    "I like people that are very curious, and I wanted our characters to be curious and continue the curiosity that they have. Answers are kind of boring to me because they're finite and done. Questions are amazing because…they open up. A good answer should lead to a new question," he said.

    In fact, that curiosity is something that can ground a player in a world as fantastical as God of War's. It creates a need for a balance of more relatable, smaller moments that create buy-in for players or viewers to care about this world. Finding the balance of those, and how questions, the ideas of trust in these relationships, and more relate to a world filled with mythic figures is something Williams in the team really want to explore in the sequel's story, and feel is true to 2018's story.

    "When you can get into character psyches and mental states, it's a good place to be. It's what draws people in because it's familiar but set in this backdrop that is very fantastical," Williams noted, noting that he did see some criticisms of his belief in adding "slice-of-life moments" to God of War as mentioned in the post-PlayStation showcase developer interview.

    But, pointing to moments like God of War 2018's opening, a quiet, father-and-son hunting trip, Williams believes these types of moments are part of the fabric of Kratos and Atreus' story, and it's an idea shared by 2018's director Cory Barlog.

    "The best moments in games, the best moments in movies are the joy of the mundane," Barlog said. "The beauty and the real moments of truth… it's so normal and something that I can relate to. And then there's a giant troll or a dragon nearby.

    "It mashes these things up and gives you that initial feeling of, 'I can connect to this. It's so relatable.' And then you're in this fantastic world. [These moments] fool you, put the blanket around your neck. And you're a superhero all of a sudden," Barlog said as he described the power of these quieter moments.

    Whether it's through Kratos and Atreus' story, or returning characters like Mimir, Brok and Sindri, or newcomers like Thor, Odin, and more, Williams hopes players will find their perspective and in into the larger world and story being told in Ragnarok. Interestingly, the ensemble of characters provide an in specifically to the themes of family and the ties that bind that were established in God of War 2018. Though Williams didn't go into detail, when asked about whether Thor and Freya being two opposing forces to Kratos whose viewpoint is very much from one of anger toward Kratos and his meddling in their families, Williams simply said "That is a very astute takeaway from the trailer."

    But for how these families of great mythological purpose will connect in Ragnarok is still a mystery, and a question to maybe be answered when the sequel comes to PS4 and PS5 in 2022.

    For more from Barlog and Williams, stay tuned to IGN, and in the meantime, check out what Williams had to say about the ways Ragnarok is evolving the franchise's combat, player agency, and exploration.

    Jonathon Dornbush is IGN's Senior Features Editor, PlayStation Lead, and host of Podcast Beyond! He's the proud dog father of a BOY named Loki. Talk to him on Twitter @jmdornbush.

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    Epic v. Apple: Court Says Apple’s 30% Sales Cut Is Unjustified

    Even though a US Court today ruled that Apple was not a monopoly and did not violate antitrust laws in the Epic v. Apple suit, it didn't have kind things to say about Apple's 30% take rate on in-app purchases.

    In its final order, the court goes over the numerous arguments from the case, at one point addressing the fact that Apple takes a 30% cut of all purchases occurring in apps published on its store. Though the 30% rate has been common in the game and app industries for years, in recent times platforms such as Steam, Microsoft, and Epic itself have opted to take less, while Apple has dug in its heels.

    This was brought as evidence against Apple, with Epic suggesting that its hold on the market and insistence on 30% ultimately drove prices up for consumers. Apple argued that not only was 30% was an industry standard, but that developers get a commensurate value from the App Store to make up for the cut.

    But the judge disagreed, calling the take "unjustified."

    "One…developers could decide to stay on the App Store to benefit from the services that Apple provides," the ruling reads. "Absent competition, however, it is impossible to say that Apple’s 30% commission reflects the fair market value of its services. Indeed, at least a few developers testified that they considered Apple’s rate to be too high for the services provided. Two, Apple has provided no evidence that the rate it charges bears any quantifiable relation to the services provided. To the contrary, Apple started with a proposition, that proposition revealed itself to be incredibly profitable and there appears to be no market forces to test the proposition or motivate a change."

    Basically, the judge is saying that the 30% rate Apple takes is impossible to determine the value of, because there isn't enough competition to suggest otherwise. Furthermore, it doesn't seem like anything Apple does for developers has any relation to the money they take from in-app purchases.

    The court went further, pointing out that the justification for a 30% rate could be determined if a third-party store put pressure on the company to innovate and provide features to developers it had previously neglected. But with competition currently held back, there's just no way to tell.

    But, again, the ruling doesn't call Apple a monopoly — just "anticompetitive." It has a share of the mobile gaming market between 52% and 57% that it battles with Google for, making for a "mostly duopolistic" ecosystem that Apple has "considerable market power" within.

    And that, the court concludes, may soon turn into a monopoly if its market share keeps going up, competition doesn't step up its game, or Epic or someone else brings a better antitrust case to court next time.

    "The evidence does suggest that Apple is near the precipice of substantial market power, or monopoly power, with its considerable market share. Apple is only saved by the fact that its share is not higher, that competitors from related submarkets are making inroads into the mobile gaming submarket [Nintendo Switch], and, perhaps, because plaintiff did not focus on this topic."

    Overall, most of the ruling was in favor of Apple, though Epic won a specific battle with an injunction forcing Apple to allow developers to link to outside payment options within their apps (though this still doesn't let them add direct payment that bypasses the App Store's systems). Tim Sweeney has said that as a result of this, he will not be bringing Fortnite back to to the App Store until direct payment is permitted.

    Epic first brought this suit to Apple following Apple's removal of Fortnite from its App Store last year after Epic incorporated the ability to skirt Apple's payment system, thus avoiding Apple's 30% platform fee. We've since seen plenty of similar challenges to Apple's walled garden, including proposed legislation that would solidify the ability for developers to use their own payment systems, as well as continued pushback on Apple from other developers frustrated by its policies. We've also learned a lot from the suit, including the ways in which Epic weaponized its fans against Apple and the general confusion the court system experienced when faced with, well, video game nonsense.

    Sadly, we're still not sure (legally, anyway) exactly what a video game is.

    Rebekah Valentine is a news reporter for IGN. You can find her on Twitter @duckvalentine.

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