An unhinged Superman goes on a violent rampage and it's up to Batman and his allies to save Earth in Injustice, an all-new, feature-length DC Animated Movie from Warner Bros. Animation, DC, and Warner Bros. Home Entertainment — and we've got your exclusive first look at the trailer!

Injustice, which arrives October 19, 2021, on 4K Ultra HD Blu-ray Combo Pack, Blu-ray, and Digital, is inspired by the NetherRealm Studios game Injustice: Gods Among Us and the DC graphic novel based on the game, Injustice: Gods Among Us: Year One by Tom Taylor.

Check out the trailer for Injustice in the player above or via the embed below:

In an alternate reality, the Joker's mad machinations lead to the death of Lois Lane and the total destruction of Metropolis, Superman, having lost his wife and unborn child, decides to take control of the entire world for its own good. Batman then leads a rebellion to free Earth from Clark's authoritarian rule.

The all-star voice cast includes Justin Hartley (Smallville, This is Us) as Superman, Anson Mount (Star Trek Discovery, Hell on Wheels) as Batman, Gillian Jacobs (Community) as Harley Quinn, Kevin Pollak (The Usual Suspects) as Joker and Jonathan Kent, and Janet Varney (The Legend of Korra, Stan Against Evil) as Wonder Woman.

Other featured voices include Laura Bailey as Lois Lane and Rama Kushna, Zach Callison as Damian and Jimmy Olsen, Brian T. Delaney as Green Lantern, Brandon Michael Hall as Cyborg, Edwin Hodge as Mr. Terrific and Killer Croc, Oliver Hudson as Plastic Man, Yuri Lowenthal as Mirror Master, Flash and Shazam, Derek Phillips as Nightwing and Aquaman, Anika Noni Rose as Catwoman, Reid Scott as Green Arrow and Victor Zsasz, Faran Tahir as Ra’s al Ghul, and Fred Tatasciore as Captain Atom.

Rick Morales (Mortal Kombat Legends: Scorpion’s Revenge) is producing with Justice League Dark‘s Matt Peters directing from a script by Batman: Hush's Ernie Altbacker. Also producing is Jim Krieg, with Sam Register executive producing.

Injustice will be available on Tuesday, October 19 on 4K Ultra HD Blu-ray Combo Pack, Blu-ray and Digital.

Life is Strange: True Colors has kept me more emotionally invested than any Life is Strange story since I played the original back in 2015. While every game in this adventure series is good in its own way, this one (from developer Deck Nine as opposed to the series’ creators at Dontnod) addresses many consistent issues that have plagued the last three games. It proves to be the best in the series thanks to consistent writing for both main and side characters, a compelling mystery story with good pacing, useful supernatural abilities, and perhaps most importantly, dialogue choices that offer more depth and complexity with big and most small decisions that actually impact the story in meaningful ways throughout the course of five chapters.

While you can certainly play each chapter in bits and pieces, they’re all available immediately so you can binge its 14 hours of story in one sitting with no waiting. Every episode has good pacing, a clear goal, and plenty of suspense. Before writing this review, I played through True Colors multiple times and found no definitive way to experience the story. There’s a notable difference from previous episodes in that there is no recap of the previous chapter when starting a new one or a teaser for the next after completing one, but in its defense, True Colors does not really need it.

You play as Alex Chen, a young woman with a troubled childhood who comes to the fictional mining town of Haven Springs, Colorado to live with her brother Gabe. After a mysterious accident, Alex uses her supernatural empathic abilities to bring the town’s secrets to the surface. Personally, I wish that the trailers hadn’t spoiled the nature of the central mystery for me, so if you haven’t watched them yet, don’t – I urge you to go in blind.

Haven Springs is stunning thanks to its scenic Colorado views. From the snowy mountains in the far background to the wooden bridge that separates the bus stop from the main street filled with colorful flowers and a river stream, this is arguably the best setting in any Life is Strange game to date and a compelling and effective tourism ad for Colorado.

This is a small mountain town, and in typical small-town fashion, everyone knows their neighbors and their community is tight-knit. It comes across loud and clear that the residents genuinely care about each other. Some of this insight comes from Alex’s phone, which shares details of her relationships with her friends with some text messages (the content of which varies depending on your in-game choices). Alex can also check out MyBlock, a Nextdoor-like social media platform where the townsfolk share local updates, Easter eggs, and local banter; some of which are pay-offs as a result of the choices Alex made around those characters. There’s even a moment in which the entire town partakes in a LARP to cheer up a grieving kid. Seeing the townsfolk dress up in costumes in areas like the town’s bar was by far my favorite moment of the entire story. There’s even a light RPG element in that particular chapter that helps make the entire section a lot more fun to engage in.

The people of Haven Springs also have a lot of life to them, which made me feel more emotionally invested in the community. Previous Life is Strange games have struggled with consistently giving NPCs compelling backstories and many of them were failed by poor writing. Alyssa Anderson in the original Life is Strange, Evan Harris in Before the Storm, Hank Stamper in the first episode of Life is Strange 2 all had a lack of depth that made them come off as stereotypes. But in True Colors, I can’t name anybody who felt underserved.

A lot of that comes from the excellent way in which you interact with them, which is enhanced by a supernatural phenomenon. Like Max Caufield in the original Life is Strange, Alex has an unexplained superpower: she can perceive strong emotions through colorful auras that outline people around her. It may not be as spectacular as turning back time, but it does go beyond just “reading” people: if a person’s feelings are strong enough, Alex will also begin to actually feel those emotions herself. It’s almost like an out-of-body experience where she walks a mile in their shoes.

In some cases, both scripted and unscripted, Alex can interact with items that contain memories (basically audio logs) that share a bit more about certain characters. I found this to be a nice add-on to Alex’s already robust empathic powers; not only can it help with dialogue choices big and small, it helps to add more perspective to Haven Springs’ residents. In one instance after exploring the flower shop, I found a t-shirt memory that explained how Riley Lethe met her on-and-off-again boyfriend Mac Louden at a bot-fighting competition she participated in. And if you decide to go off the beaten path, you will be rewarded with an additional backstory for certain characters that Alex will write in her journal. Her journal feels very much like her and offers insight into the character you’re playing as – sometimes she will write new lyrics or share extensive detail on when she engages in another’s strong emotions; you can even playback the optional memories you find.

One of my favorite aspects of Deck Nine’s handling of Life is Strange’s story-driven format is that, unlike previous games in this series, there are so many choices – regardless of size – that impact Alex’s journey and future. One example of True Colors maintains throughout the story involves a side plot with Eleanor Lethe who early on in the game you find out she is having health issues, in particular, she is suffering from memory loss. But no one in town, not even Riley, who sees Eleanor is a material figure knows of her illness. At one point late in the story just as Riley is about to leave for college, you can tell her about Eleanor’s condition, but having previous conversations with both will leave you with the choice of whether to be honest and tell Riley the truth and risk violating Eleanor’s trust or keep the secret and allow Riley to go away to school. Those consequences and reactions feel real and consistent thanks to the detailed facial animations and appropriate body language of NPCs. Sure, some of those reactions are emphasized and spelled out when an aura appears, but even without the aura I always had a good understanding of how a character was feeling after Alex interacted with them.

Because of the increased emphasis on the consequences of our actions, there were many times when I made a choice and had to second-guess whether that was what I wanted to do. No other Life is Strange game has made me reload a checkpoint save just to see a cutscene play out differently. There were times in previous games when I felt the writers would have dialogue options, you could have multiple options for a dialogue choice that is consistent with the overall protagonist, but another option felt “forced” or out of place. But Deck Nine’s superb writing offers multiple dialogue options that all feel like something Alex would say and remain consistent with her personality.

By the time you get to Chapter 5, the effects of most of the choices you’ve made will play out in one way or another. It was a lovely surprise to see just how many decisions I made in earlier episodes metamorphosed into my own personal-feeling version of Chapter 5. Life is Strange has always been a series with high replayability, but this level of detail and variation in scenes makes True Colors even more rewarding for me to replay again and again.

Like the previous installments, Life is Strange: True Colors has multiple endings that can result from the choices you make, none of which is a canonically “true ending.” While I initially thought I had a good idea of how the story would go, Deck Nine managed to keep me guessing – and by the time the plot twist came I was left in disbelief, eager to see how the final parts would play out. Yet each ending – and their variations – all felt natural to Alex, and she remained true to the character of someone who is happy and hopeful for the future that lay ahead.

I also loved that even when Alex solves the main mystery, there are still plenty of secrets for her to discover around Haven Springs. The seeds of these side stories are planted through clever foreshadowing and hints for the curious among us, and their revelations always felt rewarding to me. There are even optional stories that happen in each episode where Alex can use her abilities to help people, such as helping a man guess how many jelly beans are in a jar so he can win the $100 gift card to take his mom out to a nice meal, boosting a runner’s self-esteem, or helping pair up a couple of friends with a mutual attraction to one another but were too scared to make a move. Even among the core cast of characters, in my first few playthroughs, there was always something new I could learn about them that allowed me the opportunity to form a better bond with them.

Deck Nine also far outshines Dontnod in the romance department, with two strong options that Alex can pursue in Ryan and Steph. In previous Life is Strange games, especially Dontnod’s (Life is Strange 1 & 2), you had the option to romance either a male or female character and choose the protagonist’s sexuality, but I found those games to have lackluster options. Yes, that decision is a small piece of a much larger puzzle, but when I look back at them, Dontod’s poor writing always offered a strong bias towards one potential partner over the other.

By comparison, Deck Nine offers an equal playing field to both Ryan and Steph, and when I played the first four chapters for the first time I was unsure who I wanted Alex to be with – or whether to choose one of them at all since you’re given the ability to opt-out of romance altogether. Both characters have their pros and cons and it’s quite clear Deck Nine is placing the ball in your court, and neither feels like they are getting the short end of the stick.

The below is a spoiler-free review of the first three episodes of Y: The Last Man, which premiere on Monday, Sept. 13 on FX on Hulu.

Y: The Last Man, FX on Hulu's new series based on the comics by Brian K. Vaughan (Runaways, Lost) and Pia Guerra, carries a dark and intriguing premise, as well as a handful of promising thematic elements, but, in its first three episodes, fails to fully resonate from an emotional standpoint. The story is effective in giving us a horrific landscape filled with incalculable death and despair, but its attempt to focus on almost every aspect of this specific apocalypse spreads the story too thin at points.

Though Vaughan and Guerra's acclaimed books only came out in the aughts, the long road to get Y: The Last Man to the screen has hindered and hamstrung the project a bit. In the past two decades, we've become inundated with dystopian dramas, some of which have become massive hits. Y: The Last Man has many unique parts that help it stand out, but there's still an overall sameness that slightly sinks it, as there are scenes that directly remind one of things like The Walking Dead, HBO's The Leftovers, or even the grimmest aspects of Avengers: Endgame.

What helped those aforementioned projects soar, specifically, was their ability to focus on one particular aspect of a ravaged, culled future, while Y: The Last Man stumbles in combining the personal with the political. After three episodes, the series leans heavily on the governing aspects of the apocalypse in ways that feel like a frustrating reminder that after a world-changing catastrophe, we'll still have to deal with Election Year-style divisiveness as well as abhorrent bigotry and idiocy. Sure, it's true that the past few years have hammered home the fact that, in real life, massive disasters absolutely do not mean we'll all pull together, but Y: The Last Man takes that lesson and lassos it in a manner that makes the saga feel sporadically boring.

Starring Diane Lane, Amber Tamblyn, Ashley Romans, Olivia Thirlby, Marin Ireland, and Ben Schnetzer (as the titular last man, Y), the series brings us into a present day world that mirrors most of our own until it's hit by mysterious airborne plague that violently wipes out every living creature with a Y chromosome. So, this very targeted Thanos snap leaves the world only populated by women and trans men, with 4 billion lives lost and all countries thrown into violent madness and desperation. Somehow, in this ravaging, two males are spared: a somewhat insufferable magician — sorry, Gob, "escape artist" — named Yorick and his pet monkey, Ampersand. Complicating things further is the fact that he's the son of line-of-succession American president Jennifer Brown (Lane), who's been accused by the some of the leftover people of the nation of manufacturing the virus, who's been accused by the some of the leftover factions of the nation of manufacturing the virus.

The immediate fascinating and elevating difference here, which separates Y: The Last Man from other dystopian rabble, is that this is a mostly female ensemble that directly tackles the idea of a world with no men and how things might both differ and remain the same. Of course, the world these women are forced to take the reins on is one in utter devastation and crisis, so an argument can be made that gender doesn't matter in a hellscape. Still, it is jarring to see, say, an all-female riot or hear of a militia taking hostages somewhere knowing that it's unhinged women with guns. In that regard, Y: The Last Man shows us a form of pioneering pandemonium.

The other grand ingredient here is that the "last man on Earth" is kind if a loser, not just in cliched career ways, but spiritually. Yorick is the slacker uncle or bathrobe'd older brother who won't get a job, but also won't exert any meaningful effort on what he claims to be his real passion. He wants to dote on someone and ride coattails while having his days free. Needless to say, it will be interesting to see how this "remarkably un-special man made the most special person on the planet" theme carries forward after the first three chapters. At this point in the story, he's whiny precious cargo, a class-clown secret whom the president, while she tries to stop every metaphoric dam in America from breaking, must now consider both a weapon and a weakness. Hopefully, within the arc of this season, and series overall, Yorick's journey is one of both redemption and realization, because right now, the juxtaposition of his tone and attitude with his mother's crushing duties as leader is almost comical.

Lane is great as President Brown, and Tamblyn is perfect as the plaguing pest in Brown's nest (the former president's alt-right daughter), but it's Romans (NOS4A2, and Hermione in fan-made webseries Hermione Granger and the Quarter Life Crisis) who really pops in these first three episodes. As Agent 355, or "Sarah," Romans is able to cut through most of the absolute bulls*** that the other characters run up against. She's an infiltrator and "wetwork" specialist, who happens to have been placed near the president on the ill-fated day when the virus landed. Now acting as Brown's left-hand and Yorick's brutal minder, 355's ability to shirk and shun games, and remain mostly emotionless, is a breath of fresh air on the series. The third episode even ends with a very impactful moment centered around 355 and her direct methods, making for the most memorable part of the series so far.

"The Day Before" utilizes pilot playbook effectively (even dipping its toe in the now-tired "in media res" opening), introducing us to all the principal characters — including Dredd's Thirlby as Yorick's in-recovery paramedic sister, Hero, and Umbrella Academy's Ireland as a career mom in the orbit of men who smile and don't pull their weight — while follow-up "Would the World Be Kind" sort of lags, suffering from second episode-itis (pressure to follow up on premiere, having to find new reasons for us to care about everyone, holding more of a responsibility to keep people's attention, etc). If anyone wonders why the premiere episode spends so much time with Jennifer Brown and her dealings with the president, it's because the show is going to focus a lot on the White House remnants/remainders and their mini-civil war. It's not the most interesting place to spend time during a worldwide decimation, but it is, admittedly, different, since most of the time, this is all the stuff that happens off-screen. We usually spend time with those on the ground while the government and military collapse elsewhere. The show is going to have to convince us that this is the better story to follow.

Things pick up nicely with the third episode, "Neil," as new threats emerge and Yorick is absorbed into the equation. Pressure points and vulnerabilities are created while the truer trajectories for all the characters start to take shape. Y: The Last Man holds a lot of promise now as it exits the doomsday event itself. The battle to rebuild the world, and Yorick possibly finding inspiration and inner-worth, is more interesting than actually seeing civilization fall. We've seen that happen on TV and in movies a ton — from cars clogging old roads to planes crashing down to the miserable mobs rushing guarded gates — so Y: The Last Man will find its footing, and (hopefully) greatness, by giving us a differently shaded aftermath.

At last there’s a new Guitar Hero game, only this one doesn’t require you to dust off the pile of plastic peripherals you’ve long since stashed on a shelf in your garage. A musical voyage of personal discovery for its axe-wielding star, Francis Vendetti, The Artful Escape is a story-driven platforming adventure that weaves in light rhythm game mechanics as you blaze fiery riffs through cosmic rifts across the universe and back again. Inspired intergalactic environments, a charmingly quirky cast, and some sparklingly grandiose guitarwork propel The Artful Escape into what becomes a genuinely magical mystery tour.

Although it features numerous beasts from other worlds to confront along the way, the major villain in The Artful Escape takes the form of a demon that I found far more relatable than any evil alien threat; Francis’ own sense of self doubt. With the shadow of his successful folk singing uncle looming large over his nascent musical career, Francis struggles with the stress of trying to be something he’s not as he prepares to make his onstage debut at a musical festival in his hometown of Calypso, Colorado. He isn’t turned on by the humdrum of the humble strum; for him, the best tonic is a freshly shredded pentatonic. The sense of catharsis is palpable as you ‘press X to shred a sci-fi guitar odyssey’ during The Artful Escape’s opening moments and rip some hot licks on a hilltop that make the Rocky Mountains rock even harder.

From there, it felt as though I’d been whisked away into the pleasantly peculiar inside of a Wes Anderson film, albeit one with substantially more aliens. The Artful Escape doesn’t just feature the striking lateral camera tracking shots and delightfully deadpan line delivery from the likes of The Grand Budapest Hotel or The Darjeeling Limited, it also features a wonderfully offbeat Jason Schwartzman-style character… who just happens to be voiced by Jason Schwartzman. It’s his character of Zomm, effectively a floating brain in a jar from outer space, who visits Francis in the middle of the night, equips him with a holographic guitar and matching Tron jumpsuit, and sends him on his first interplanetary steps toward his transformation from awkward coffee shop shoegazer to Ziggy Stardust-like musical trailblazer.

Over the course of the ensuing four-hour rock opera I met an assortment of fantastically flamboyant interstellar beings, from a likeably carefree cosmic entity voiced by Game of Thrones’ Lena Headey, to an extraterrestrial jazz club owner who only speaks in saxophone. My favourite of them all was Francis’ musical mentor, Lightman, a cross between Chuck Berry and Doc Brown who’s voiced with real verve by ‘80s action star Carl Weathers. The perpetually baffled but always endearingly enthused performance of Francis himself, voiced by Teen Wolf’s Michael Johnston, served as the perfect foil to the contrasting eccentricities of each oddball character I encountered.

Six-String Theory

Despite no shortage of hilarious dialogue options, Francis isn’t on an intergalactic journey just to chat, and indeed outside of a couple of key hub areas The Artful Escape mostly lets his fingers do the talking. A dedicated shred button allows him to solo away as you stroll through each alien world, performing mid-air split kicks and triumphant knee-slides with enough youthful exuberance to make Angus Young seem positively Angus Ancient. Francis’ ongoing fretboard frenzy is buoyed by shimmering sci-fi synths and driving drum beats that keep The Artful Escape’s soundtrack at a persistent level of air-punching ‘80s arena rock euphoria.

There’s no real gameplay advantage to any of this six-string showboating, since you can quietly saunter your way through each simple platforming section if you’d prefer and not get penalised, but to do so would be to completely ignore what makes The Artful Escape so special; it’s a platformer that emphasises performance over precision. Francis’ electric guitar playing literally lights up the world around him, illuminating every neon street light he duckwalks past and awakening alien fauna that pulse to the music like they’re some kind of organic graphic equalizers. Impressive audio trickery means that even if you stop playing for a moment, Francis’ shredding remains perfectly in sync with the underlying soundtrack when you pick it back up, which helps maintain a seamlessness to the ongoing spectacle.

I found myself in a near-constant state of bliss, whether I was taking an on-rails boat ride through a day-glo diorama like some sort of widdly-widdly Willy Wonka, or being chased by an airship along the top of a psychedelic cityscape seemingly ripped straight from The Beatles’ Yellow Submarine. In The Artful Escape, each new world’s a stage and every level is a laser-powered light show, and there wasn’t a single wailing wander that I took through it all that didn’t make my jaw drop and my face melt as though I’d just taken a quick gander inside the Ark of the Covenant.

Space Jam

Admittedly, The Artful Escape’s gameplay isn’t given the same amount of development as Francis’ evolving onstage persona or the ever-changing pyrotechnics around him. Often, you have to indulge in call-and-response musical duels with certain characters, turning back-and-forths with giant, interdimensional moth monsters into a game of Simon Shreds. But these rhythm-based mini-games, which require the memorisation of sequences built around five different button presses, don’t really scale in complexity from the opening tutorial to the spectacular final performance. Their simple nature certainly keeps the whole thing flowing, but while The Artful Escape’s dazzling musical showdowns look and sound unique, they also feel a bit samey.

But for the most part, I was too busy enjoying the sweetly picked notes to start picking nits, and I was content to just course along the surging waves of boundless hypercoloured creativity without really caring about the absence of any traditional increase in challenge. At one stop along the journey, Francis finds himself in an alien recording studio with a producer named Stargordon, who offers to provide a more “mountainous” reverb on the guitar track. At that point, all the walls fall off and the studio is rocket-propelled into the air above an alpine expanse where every note you play is accompanied by beams of light blasted out of the mouths of a marching herd of dinosaur skeletons. It’s as breathtaking as it is totally bonkers, and it was just one of many sequences in The Artful Escape that left me feeling completely giddy.

That’s in addition to the many smaller details, from the shops in Calypso that have in-joke names like ‘Plant & Page: Exotic Flora and Books’ to the volume sliders in the audio menu that each go to 11. The creators of The Artful Escape have a reverence for rock and roll, and it’s evident in almost every facet of the experience.

Bungie is hiring for a new senior executive who will help to bring Destiny's narrative from video games across to the world of TV, film, and more.

A career listing on Bungie's website for a new senior executive development role at the studio (spotted by TheGamePost) says that the successful candidate will "drive projects that extend the Destiny franchise into new categories including TV, films, books, comics, and audio formats."

Bungie itself doesn't appear to be hiring for positions to create the new range of Destiny products in-house. Instead, the new executive's role will be to "identify, select, guide, collaborate, and provide feedback to third parties and partners enabling them to tell additional myths in the Destiny universe that delight our fans while capturing the hearts and minds of new audiences."

In terms of the expansion, it would seem that Bungie is open to exploring a number of different avenues. As a requirement, the new executive will need to have been credited on a number of films/series with "experience in animation, scripted television development or current programming," also listed. Bungie also notes that additional credit may be awarded to a suitable candidate with experience in fictional novel and graphic novel publishing.

Although Bungie hasn't confirmed any details surrounding Destiny's potential expansion as a television series, the listing seems to suggest that a move toward the format would take the form of an animated series as opposed to a live-action show.

With Destiny already a globally recognized franchise with an incredibly devoted community behind it, some fans may fear that a move to other formats under incorrect supervision could be detrimental to the game's lore and characters. With this in mind, it seems that Bungie is looking for someone already heavily invested within the Destiny Universe. On top of extensive multimedia experience, Bungie requires applicants to have a passion for the Destiny Universe and says that an ideal candidate will have spent hundreds of hours playing Destiny and exploring its world.

In other related news, Destiny 2 recently launched into its latest Season of the Lost update and announced details surrounding the game's upcoming Witch Queen expansion, which is due out February 22. As Bungie looks to take Destiny to new mediums, perhaps we'll see Savathûn and her siblings make their debut elsewhere on other formats in the future.

Jared Moore is a freelance writer for IGN. You can follow him on Twitter.