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Star Wars is expanding once again, but this time into an age where the Jedi are at the peak of their power and influence within the galaxy. Announced back in February, Star Wars: The High Republic is set 200 years before the events of The Phantom Menace but will also feature a familial connection to the original Star Wars film trilogy era that novelist Justina Ireland discussed in an hour-long panel at Disney-Lucasfilm Publishing’s Comic-Con at Home panel via THR.

According to Ireland, that link to the future will be seen in Avon Starros, an ancestor of Sana Starros whose first appearance came in Marvel’s 2015 Star Wars comic book series.

“If fans are familiar with Sana Starros,” Ireland said, “we know she’s the best scoundrel to ever have scoundreled, she has no shame, she’s out there to get what she needs to get, and she’s kinda ruthless. “She’s literally my favorite.” “But The High Republic takes place many hundreds of years earlier before she exists, and so who we’re going to meet instead of Sina is her great, great, many-times-great ancestor — there won’t be a direct relation there because genetics are murky in the Star Wars galaxy.”

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While The Walking Dead TV series has become its own universe, with three different shows, it’s all based on the amazing comic book series written by Robert Kirkman with art by Tony Moore and Charlie Adlard. However, there is another adaptation of Kirkman’s comic books coming to the small screen, and that’s Invincible. During the Robert Kirkman at Home panel for Comic-Con@Home, the creator revealed a slew of people who have been cast on the show.

The upcoming Amazon Prime animated series will obviously feature the Guardians of the Globe, the superhero team. And there are some Walking Dead actors who will make the jump to this new series that were announced during the Kirkman panel. This includes Khary Payton (Ezekiel) as Black Samson, Sonequa Martin-Green (Sasha) as Green Ghost, Lauren Cohan (Maggie) as War Woman, Chad Coleman (Tyreese) as Martian Man, Michael Cudlitz (Abraham) as Red Rush, Lennie James (Morgan) as Darkwing, and Ross Marquand (Aaron) as The Immortal & Aquarius.

They’ll join the central cast of the Grayson family, which you can see below.

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We still have a bit of a wait for the Comic-Con@Home panel for HBO’s new show, Lovecraft Country, which is scheduled for July 25 at 4PM PT / 7PM ET, but a new trailer has been released to make time pass just a little bit faster.

The show, which has been developed for TV by Misha Green (Underground) and will be produced by J.J. Abrams and Jordan Peele, is based on the 2016 novel of the same name by Matt Ruff. It focuses on Atticus (Jonathan Majors), a Korean war veteran trying to navigate segregated 1950s America in search of a family legacy and his missing father, Montrose (Michael Kenneth Williams). Check out the trailer now.

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As you’re slinking around air ducts and planning a surprise attack on a helpless scientist, it’s difficult not to feel empowered by Carrion‘s approach to horror. Here you aren’t the one slowly peeking around each corner to make sure you’re safe–you’re the one doing the hunting, leaving a gory trail of devastation as you pick apart an underground laboratory one department at a time. When Carrion gives you the tools to be the best betentacled killing machine you can be, it’s a satisfying monster simulator with engaging puzzles and clever combat, but it falters in moments where you don’t feel as in control as you should be.

Carrion’s star is undoubtedly the gooey red monster you play as. Simply moving around is immensely satisfying. It feels as though you’re constantly floating, with extending appendages latching onto surfaces around you to feed into the illusion of chaotic but calculated traversal. By making movement effortless, Carrion lets you appreciate how good it looks in motion, from squeezing your red mass into a narrow air duct to transforming into a school of parasitic worms to swim through grates. There are a handful of instances where your size makes orienting yourself slightly challenging, but they’re small teething issues as you learn to navigate around.

When you consume humans, you gain life and grow, while the reverse happens when you take damage. As you progress through each level, you unlock new abilities which are directly tied to your current size. When you’re at your largest, you can cause devastating damage by sending a flurry of tentacles forward and viciously pulling anything in their way towards you. At a medium size, you can encase yourself in spikes and roll around a room dealing damage in all directions, while your smallest sizes offer more utility-style abilities like stealth and a handy stun attack. Tying abilities to your size makes combat dynamic, where you’re constantly watching the damage you take and adjusting your strategy as you go. It takes a bit to get comfortable with the sudden ability shifts in the heat of the moment, but getting access to movesets that let you dominate or flee a fight when you need them feels great.

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Mark Twain never played a video game. But he did, more than a century ago, succinctly summarize the difficulty game developers continue to have as they attempt to craft believable worlds.

“Truth is stranger than fiction,” Twain wrote in 1897. “But it is because fiction is obliged to stick to possibilities; truth isn’t.”

As it turns out, there is little fiction that video game critics are more skeptical of than the graffiti developers dream up to emblazon their virtual walls. Back in 2013, Kotaku published a piece titled “Cool It With The Dumb Video-Game Graffiti” that chronicled the medium’s history of on-the-nose wall writing. And, until recently, it was easy to agree with the argument presented in that piece: that game developers spend so much time constructing living, breathing worlds, filling them with meticulous detail. Why ruin them with un-subtle graffiti? And besides, what’s the rationale? Wouldn’t people in the midst of a crisis have more important things to do than writing obvious graffiti messages to be discovered by some late-arriving player character? Would they really spend their precious time scrawling their discontent? Would the residents of The Last of Us’ quarantine zones really steal a can of spray paint to write “Stop feeding us lies! Give us our rations!” on a wall?

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