Lego Star Wars: The Skywalker Saga is the first time developer Traveller's Tales has portrayed every movie in the mainline Star Wars series. As such, there are plenty of classic creatures the studio had to adapt for the first time, including ones that have never been made by Lego as physical kits. To keep things as authentic as possible, the artists used parts from existing kits as reference for these new creatures, and ‘built’ them from a mixture of existing and original parts.

In a new developer diary debuted during IGN Fan Fest, Neil Crofts, Head of Character Art on Lego Star Wars: The Skywalker Saga, said: “What we would do is we’d look at the film reference, and we’d take existing Lego creatures and characters that are similar, and then what we end up with is something that is as accurate as we could make it.”

“Take the bantha, for example,” he said. “It’s really true to lego IP and it’s really true to the film IP.”

Concept art in the video also shows how the Rathar, the squid-like creatures from The Force Awakens, was designed using a mix of brand new parts and items from existing kits. The Rathar’s body is a new two-piece component, but it is based on the Lego GyroSphere from the Lego Jurassic World kit. Attached to this body are newly-designed tentacles, but also the Lego dragon kit’s tail and tusks. Finally, the Rathar’s mouth is made up from classic 3794 Lego pieces, perhaps better known as the flat plates with one stud on. This means a minifig character can be easily clipped onto the mouth for any eating scenes.

While other creatures may not use exact pieces from other kits, they’re closely modelled to match any close references in order to maintain authenticity.

For more from Lego Star Wars, check out what comes in each edition of The Skywalker Saga, and an overview of what you can expect from this noticeably different Lego game.

Matt Purslow is IGN's UK News and Entertainment Writer.

The upcoming Halo TV show will not take place in the timeline of the video games, and instead uses a newly formed “Silver Timeline”. Despite this, the show is still “rooted in canon” and will feature everything you’d expect from the story of Master Chief’s fight against the Covenant. It just comes from a “different perspective”.

As part of IGN Fan Fest 2022, Halo’s executive producer and 343 Industries’ Studio Head of Transmedia, Kiki Wolfkill, said: “The Halo Silver Timeline is about giving the show and the core canon room to grow, evolve, and be what they need to be. Really think of the Halo Silver Timeline as being rooted in canon, so events and characters and certainly all of the things you see in canon are all part of the show, but sometimes you will see those events from a different perspective.”

“There are times and places where we’ve had to pull events closer together than they may be in the [original] chronology, and that’s a good example of where the context will maybe shift a little bit, but it should feel very Halo,” she elaborated. “At the end of the day the core of Halo are those pillars of heroism and humanity and the wonder of sci-fi and hope. All of those things are core to what we’re doing. It’s a case of when people watch the show it will feel Halo and there will be a lot that they recognise verbatim, and a lot that will feel a little bit different just so the narrative has a chance to go where it needs to go without colliding with some of the core canon.”

One of the things that will diverge from the game’s original canon is that we will actually see Master Chief’s face. In the games, the SPARTAN never publicly removes his helmet.

While the Silver Timeline means the Halo TV show is free to take its own approach for some aspects, plenty of nods to the games will be included.

“There are a lot of Easter eggs in there, and it was a lot of fun putting them in,” said director Otto Bathurst. “We had an incredible team, particularly in production design and the graphic designer, who has absolutely taken it to the n-th level. So I’m going to put my neck on the line and challenge you to freeze frame and zoom in.”

The Halo TV show will premiere on March 24, 2022 on Paramount+ in the US. For more, check out our extensive trailer breakdown and the entire cast revealed so far.

Matt Purslow is IGN's UK News and Entertainment Writer.

The upcoming Halo TV show will not take place in the timeline of the video games, and instead uses a newly formed “Silver Timeline”. Despite this, the show is still “rooted in canon” and will feature everything you’d expect from the story of Master Chief’s fight against the Covenant. It just comes from a “different perspective”.

As part of IGN Fan Fest 2022, Halo’s executive producer and 343 Industries’ Studio Head of Transmedia, Kiki Wolfkill, said: “The Halo Silver Timeline is about giving the show and the core canon room to grow, evolve, and be what they need to be. Really think of the Halo Silver Timeline as being rooted in canon, so events and characters and certainly all of the things you see in canon are all part of the show, but sometimes you will see those events from a different perspective.”

“There are times and places where we’ve had to pull events closer together than they may be in the [original] chronology, and that’s a good example of where the context will maybe shift a little bit, but it should feel very Halo,” she elaborated. “At the end of the day the core of Halo are those pillars of heroism and humanity and the wonder of sci-fi and hope. All of those things are core to what we’re doing. It’s a case of when people watch the show it will feel Halo and there will be a lot that they recognise verbatim, and a lot that will feel a little bit different just so the narrative has a chance to go where it needs to go without colliding with some of the core canon.”

One of the things that will diverge from the game’s original canon is that we will actually see Master Chief’s face. In the games, the SPARTAN never publicly removes his helmet.

While the Silver Timeline means the Halo TV show is free to take its own approach for some aspects, plenty of nods to the games will be included.

“There are a lot of Easter eggs in there, and it was a lot of fun putting them in,” said director Otto Bathurst. “We had an incredible team, particularly in production design and the graphic designer, who has absolutely taken it to the n-th level. So I’m going to put my neck on the line and challenge you to freeze frame and zoom in.”

The Halo TV show will premiere on March 24, 2022 on Paramount+ in the US. For more, check out our extensive trailer breakdown and the entire cast revealed so far.

Matt Purslow is IGN's UK News and Entertainment Writer.

The upcoming Halo TV show will reveal Master Chief’s face for the first time in the history of the franchise.

Talking to Ryan McCaffrey as part of IGN Fan Fest, Halo’s executive producer and 343 Industries’ Studio Head of Transmedia, Kiki Wolfkill, said that showing the Chief’s face was important for the story the show will tell.

“I think we set out to tell a character story and a personal story,” she explained. “And once we really got into what that story was, it became clear that you really needed to see the person in the armour and under the helmet.”

“You will see his face,” she confirmed. “For some people, it’s been a moment 20 years in the making, and for other people it is something that feels very hard to imagine. We absolutely respect both sides of that fence, those who really want to see Chief’s face and those who really don’t. But for the nature of this story, it felt really important to connect with the Master Chief in a different way, and that meant showing the face.”

Halo will premiere on March 24, 2022 on Paramount+ in the US. It features actor Pablo Schreiber as Master Chief wearing a game-accurate replica of his famous SPARTAN MJOLNIR armour, complete with its yellow opaque visor.

While this has always meant we’ve never seen Chief’s face in the game (aside from very short glimpses of the back of his head or his eyes in cutscenes), it looks like we’ll finally be seeing a Schreiber-shaped face beneath that helmet.

Matt Purslow is IGN's UK News and Entertainment Writer.

The upcoming Halo TV show will reveal Master Chief’s face for the first time in the history of the franchise.

Talking to Ryan McCaffrey as part of IGN Fan Fest, Halo’s executive producer and 343 Industries’ Studio Head of Transmedia, Kiki Wolfkill, said that showing the Chief’s face was important for the story the show will tell.

“I think we set out to tell a character story and a personal story,” she explained. “And once we really got into what that story was, it became clear that you really needed to see the person in the armour and under the helmet.”

“You will see his face,” she confirmed. “For some people, it’s been a moment 20 years in the making, and for other people it is something that feels very hard to imagine. We absolutely respect both sides of that fence, those who really want to see Chief’s face and those who really don’t. But for the nature of this story, it felt really important to connect with the Master Chief in a different way, and that meant showing the face.”

Halo will premiere on March 24, 2022 on Paramount+ in the US. It features actor Pablo Schreiber as Master Chief wearing a game-accurate replica of his famous SPARTAN MJOLNIR armour, complete with its yellow opaque visor.

While this has always meant we’ve never seen Chief’s face in the game (aside from very short glimpses of the back of his head or his eyes in cutscenes), it looks like we’ll finally be seeing a Schreiber-shaped face beneath that helmet.

Matt Purslow is IGN's UK News and Entertainment Writer.

IGN can exclusively reveal a new image from the Halo TV series, showing off the key cast members.

From left to right, the image shows Quan Ah (Yerin Ha), Catherine Halsey (Natascha McElhone), Soren-066 (Bokeem Woodbine), Master Chief (Pablo Schreiber), Kai-125 (Kate Kennedy), Riz-028 (Natasha Culzac), and Vannak-134 (Bentley Kalu):

Revealed during IGN Fan Fest, the image also shows off a Warthog vehicle and an encampment that looks similar to the one we see being destroyed in the recent trailer for the upcoming show.

We broke down that trailer in extreme detail, revealing what it was showing us not just of the characters, but its similarities and differences to the games' huge amount of lore and sci-fi detail.

After shifting to Paramount+ last year, the show will be released on March 24. Paramount is clearly pleased with what it has, as the show has already been renewed for a second season.

You'll be able to check out a panel with the cast and crew of Halo during IGN Fan Fest today – not to mention a whole lot more besides.

Joe Skrebels is IGN's Executive Editor of News. Follow him on Twitter. Have a tip for us? Want to discuss a possible story? Please send an email to newstips@ign.com.

IGN can exclusively reveal a new image from the Halo TV series, showing off the key cast members.

From left to right, the image shows Quan Ah (Yerin Ha), Catherine Halsey (Natascha McElhone), Soren-066 (Bokeem Woodbine), Master Chief (Pablo Schreiber), Kai-125 (Kate Kennedy), Riz-028 (Natasha Culzac), and Vannak-134 (Bentley Kalu):

Revealed during IGN Fan Fest, the image also shows off a Warthog vehicle and an encampment that looks similar to the one we see being destroyed in the recent trailer for the upcoming show.

We broke down that trailer in extreme detail, revealing what it was showing us not just of the characters, but its similarities and differences to the games' huge amount of lore and sci-fi detail.

After shifting to Paramount+ last year, the show will be released on March 24. Paramount is clearly pleased with what it has, as the show has already been renewed for a second season.

You'll be able to check out a panel with the cast and crew of Halo during IGN Fan Fest today – not to mention a whole lot more besides.

Joe Skrebels is IGN's Executive Editor of News. Follow him on Twitter. Have a tip for us? Want to discuss a possible story? Please send an email to newstips@ign.com.

Stepping into the cozy virtual gallery of Please, Touch the Artwork, there’s something instantly familiar about the paintings in front of me, even if I can’t recall the name of the art, the artist, or any facts about what I’m looking at. But I know I’ve seen the blocks, the lines, the use of primary colors laid out in front of me before. Maybe in an art book in school, or in passing on a museum field trip.

These are, I am told, the paintings of Piet Mondrian, or interpretations of them. They’ve been compiled and turned into a puzzle game by Thomas Waterzooi, a solo developer with a background in engineering, artist parents, and credits at Larian Studios and IO Interactive. Waterzooi was let go from IO when it parted ways with Square Enix, after which he struck out on his own to make games that were very, very different from the narrative adventures of Divinity or the comedic puzzle boxes of Hitman. Specifically, he wanted to make “pacifistic” games that explored “the bigger picture” and “the human condition.” Something, he says, “cultural.”

Something, maybe, like a game where you solve visual puzzles by touching famous paintings.

In a process that Waterzooi describes as “exactly the opposite of what a game designer would do,” Please Touch the Artwork’s creation came as a bit of a delightful accident. At one point amidst his tinkering with different game ideas, Waterzooi was also reading a book called “What Are You Looking At” by Will Gompertz. It’s about the origins of modern art, and abstract and suprematist movements particularly fascinated while reading.

One night, when Waterzooi couldn’t sleep, he decided to make a “Mondrian generator” just for fun — a simple program that would generate a painting based on the ruleset Piet Mondrian applied to his own work, which he called “De Stijl” (“The Style”). So: three primary colors, three primary hues (black, white, and gray) and two primary directions (horizontal and vertical). It’s a familiar look, one ingrained in the cultural cognizance even of those who aren’t art experts.

Waterzooi successfully made his Mondrian generator and over time began to evolve it by adding interactive elements. By touching a square on the painting, for example, the colors of all the squares touching that one would change. Thus was born the main mechanic for the first of three games within Please Touch the Artwork. He evolved it further over the years as he took his first game to different festivals and shows, eventually adding two more games inside the game inspired by the Mondrian paintings Broadway Boogie Woogie, and New York City.

And he added story to all three, with New York City’s story inspired by his own experience in a long distance relationship while working for IO. De Stijl’s narrative gives his audience a little lesson in art history and a supposed rivalry between Mondrian and his friend and fellow artist Theo van Doesburg, with arguments between the two over how the paintings the player is puzzling through ought to be composed.

Though there’s certainly a layer of art history in Please Touch the Artwork, it would be wrong to think of this through the unfortunate lens many kids (myself included) grew up with, which is that art, art history, and museums are boring and dry by necessity. Please Touch the Artwork is a spirited game, with puzzles that reminded me of The Witness but without the intense frustration and lack of guidance. It’s calming and open-ended, but also jazzy and, importantly, very excited about the art it’s showing me.

That’s part of the goal, Waterzooi tells me. He firmly believes art should be accessible to everyone: widely available, understandable, and approachable. Even with the element of art history present in Please Touch the Artwork, Waterzooi says he made a point not to do so much research that he came off as pretentious or too complex.

“I wanted to dive just deep enough to approach art like an average person, without extensive art knowledge,” he says. “The joy is in approaching these paintings with just enough context and theory not to spoil it. Like a trailer for a movie. Play my game, then go to the museum if you like it.”

“...I wanted to express that art is much more accessible than the industry makes it feel like. You could take art, turn it around, mix it up, and make it your own. Don’t keep it in the high spheres. Bring it down. Bring it to everybody.”

He hopes Please Touch the Artwork will encourage its audience to become more interested in art culture. He suggests, for instance, that children will play it with their parents, or that people without easy access to galleries or museums might enjoy it. Or perhaps those who do have that access, but who haven’t taken advantage of museums near them, might feel inspired to do so.

Waterzooi also wants to express to his audience that art is messy and subject to interpretation, including the interpretations he’s offered in Please Touch the Artwork.

“You should be able to accept that some art is bullshit,” he says. “It’s true! Some people think art is always a positive word by itself, but actually it’s not true. There’s good art and there’s bad art…to say ‘This is art,” in the public opinion it does, but it shouldn’t, imply that it’s necessarily good. It’s just a work produced by an artist who wanted to express his opinion or his inner ideas or struggles with something. Whether that’s good or not, that’s purely subjective.”

With Please Touch the Artwork out in the world, Waterzooi is far from done with art-based video games. He wants to add an infinite zen mode that will generate procedural painting puzzles for players to solve as long as they want. And he’s working on a real-life art installation based on the game, featuring both versions of the De Stijl puzzles that can be played by touching an actual canvas, as well as other interactive elements that he cut from the game itself.

And he’s not stopping there. Waterzooi wants to make more games like this, with more painters. He already has a few in mind he’s thinking of exploring: Paul Klee, Wassily Kandinsky, and Kazimir Malevich come to mind. If those names aren’t familiar, don’t worry. Waterzooi wants to help fix that.

“I can only hope that other people want to join me in this, maybe collectively each tackle a different painting,” Waterzooi says. “Maybe smaller games, but just more games always with the common theme of being relaxing, skill-free, there can’t be any time pressure…It’s this upcoming thing, ‘wholesomeness’ it’s sometimes called…That’s my design philosophy.”

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

Stepping into the cozy virtual gallery of Please, Touch the Artwork, there’s something instantly familiar about the paintings in front of me, even if I can’t recall the name of the art, the artist, or any facts about what I’m looking at. But I know I’ve seen the blocks, the lines, the use of primary colors laid out in front of me before. Maybe in an art book in school, or in passing on a museum field trip.

These are, I am told, the paintings of Piet Mondrian, or interpretations of them. They’ve been compiled and turned into a puzzle game by Thomas Waterzooi, a solo developer with a background in engineering, artist parents, and credits at Larian Studios and IO Interactive. Waterzooi was let go from IO when it parted ways with Square Enix, after which he struck out on his own to make games that were very, very different from the narrative adventures of Divinity or the comedic puzzle boxes of Hitman. Specifically, he wanted to make “pacifistic” games that explored “the bigger picture” and “the human condition.” Something, he says, “cultural.”

Something, maybe, like a game where you solve visual puzzles by touching famous paintings.

In a process that Waterzooi describes as “exactly the opposite of what a game designer would do,” Please Touch the Artwork’s creation came as a bit of a delightful accident. At one point amidst his tinkering with different game ideas, Waterzooi was also reading a book called “What Are You Looking At” by Will Gompertz. It’s about the origins of modern art, and abstract and suprematist movements particularly fascinated while reading.

One night, when Waterzooi couldn’t sleep, he decided to make a “Mondrian generator” just for fun — a simple program that would generate a painting based on the ruleset Piet Mondrian applied to his own work, which he called “De Stijl” (“The Style”). So: three primary colors, three primary hues (black, white, and gray) and two primary directions (horizontal and vertical). It’s a familiar look, one ingrained in the cultural cognizance even of those who aren’t art experts.

Waterzooi successfully made his Mondrian generator and over time began to evolve it by adding interactive elements. By touching a square on the painting, for example, the colors of all the squares touching that one would change. Thus was born the main mechanic for the first of three games within Please Touch the Artwork. He evolved it further over the years as he took his first game to different festivals and shows, eventually adding two more games inside the game inspired by the Mondrian paintings Broadway Boogie Woogie, and New York City.

And he added story to all three, with New York City’s story inspired by his own experience in a long distance relationship while working for IO. De Stijl’s narrative gives his audience a little lesson in art history and a supposed rivalry between Mondrian and his friend and fellow artist Theo van Doesburg, with arguments between the two over how the paintings the player is puzzling through ought to be composed.

Though there’s certainly a layer of art history in Please Touch the Artwork, it would be wrong to think of this through the unfortunate lens many kids (myself included) grew up with, which is that art, art history, and museums are boring and dry by necessity. Please Touch the Artwork is a spirited game, with puzzles that reminded me of The Witness but without the intense frustration and lack of guidance. It’s calming and open-ended, but also jazzy and, importantly, very excited about the art it’s showing me.

That’s part of the goal, Waterzooi tells me. He firmly believes art should be accessible to everyone: widely available, understandable, and approachable. Even with the element of art history present in Please Touch the Artwork, Waterzooi says he made a point not to do so much research that he came off as pretentious or too complex.

“I wanted to dive just deep enough to approach art like an average person, without extensive art knowledge,” he says. “The joy is in approaching these paintings with just enough context and theory not to spoil it. Like a trailer for a movie. Play my game, then go to the museum if you like it.”

“...I wanted to express that art is much more accessible than the industry makes it feel like. You could take art, turn it around, mix it up, and make it your own. Don’t keep it in the high spheres. Bring it down. Bring it to everybody.”

He hopes Please Touch the Artwork will encourage its audience to become more interested in art culture. He suggests, for instance, that children will play it with their parents, or that people without easy access to galleries or museums might enjoy it. Or perhaps those who do have that access, but who haven’t taken advantage of museums near them, might feel inspired to do so.

Waterzooi also wants to express to his audience that art is messy and subject to interpretation, including the interpretations he’s offered in Please Touch the Artwork.

“You should be able to accept that some art is bullshit,” he says. “It’s true! Some people think art is always a positive word by itself, but actually it’s not true. There’s good art and there’s bad art…to say ‘This is art,” in the public opinion it does, but it shouldn’t, imply that it’s necessarily good. It’s just a work produced by an artist who wanted to express his opinion or his inner ideas or struggles with something. Whether that’s good or not, that’s purely subjective.”

With Please Touch the Artwork out in the world, Waterzooi is far from done with art-based video games. He wants to add an infinite zen mode that will generate procedural painting puzzles for players to solve as long as they want. And he’s working on a real-life art installation based on the game, featuring both versions of the De Stijl puzzles that can be played by touching an actual canvas, as well as other interactive elements that he cut from the game itself.

And he’s not stopping there. Waterzooi wants to make more games like this, with more painters. He already has a few in mind he’s thinking of exploring: Paul Klee, Wassily Kandinsky, and Kazimir Malevich come to mind. If those names aren’t familiar, don’t worry. Waterzooi wants to help fix that.

“I can only hope that other people want to join me in this, maybe collectively each tackle a different painting,” Waterzooi says. “Maybe smaller games, but just more games always with the common theme of being relaxing, skill-free, there can’t be any time pressure…It’s this upcoming thing, ‘wholesomeness’ it’s sometimes called…That’s my design philosophy.”

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

Ubisoft has announced that the first season of Rainbow Six Siege’s seventh year will finally introduce a new map. Emerald Plains will be the first permanent new addition to the map roster since 2019’s Outback. It will arrive following the introduction of a new defender operator, Azami, who is able to patch up destroyed surfaces with a bulletproof chemical compound.

Rainbow Six Siege’s seventh year of content begins with Operation Demon Veil, a season that adds the Irish-set Emerald Plains map to the game. Unfortunately Emerald Plains will not be available until mid-way through the season, but when it arrives it will provide a new country club-style location for attackers to blow to smithereens.

The large manor house has differing decorative styles; the lower floors are modern and contemporary, while the upper ones are more traditional in design. Ubisoft has yet to offer an in-depth look at the map, so it’s difficult to get a sense of what tactical opportunities it will offer, but a new competitive map has been a long time coming and will be welcomed by the community.

Available right from the start of the season is Azami, a new defender operator who hails from Japan’s private security forces. Clad in stylish threads, she has the fascinating ability to fix up destroyed walls, ceilings, and floors with large bulletproof discs called Kiba Barriers. Deployed via throwing knives that spray out an expanding foam that rapidly hardens, they allow defenders to quickly patch up holes in their defense structures from range. This is particularly useful against vertical attacks, as there’s historically very little defenders can do when the enemy starts firing in from above. Now, hatches and holes blasted in the ceiling can be quickly patched up with a circle of bulletproof foam. Kiba Barriers can be deployed to any surface, so can also be used to cover up windows, doors, and generally break up sightlines with a bulletproof surface. The foam can be countered with explosives, though, so it’s not quite as hardy as a wall reinforcement.

Azami is a medium speed, medium health operator, and comes equipped with a choice of either an SMG - the 9×19VSN, as used by Kapkan - or the ACS12 shotgun that is used by Alibi and Maestro. Her sidearm is the D-50 Desert Eagle, and she has a choice of either barbed wire or impact grenades as her secondary gadget.

Beyond a new operator and map, Operation Demon Veil also adds a number of important new gameplay features and changes. The most radical among these is Attacker Repick, which allows the attacking team to change their loadout and even operator during the preparation phase. This means attackers can change their characters with each new round of a match, adapting to the tactics used by the defending team. Attacker Repick will be present in Quick Match, Unranked, Ranked, and Pro League game types.

There’s also a brand new, permanent game mode arriving in the form of Team Deathmatch. An unusual fit for Siege, it’s been designed to offer a much more casual experience within Rainbow Six’s otherwise hardcore collection of activities. Team Deathmatch matches last 5 minutes, or end when one team reaches 75 kills. The game mode uses respawns, and players are able to change their operators between spawns.

This season will also bring Match Replay to consoles, allowing players to store 2 hours worth of match replays on their system that can be then studied and dissected, as well as balancing updates for Valkyrie and Goyo (whose gadget no longer uses a deployable shield and is instead just a flammable canister attached to floors or walls), improvements to player behavior and anti-cheat systems, and - as usual - a limited time event and addition to the arcade. The season is also making every type of weapon sight available for all primary weapons.

So far a release date has not been announced for Year 7, Season One, but traditionally Siege’s years begin in March, so expect more details on launch times in the coming weeks.

For more from Rainbow Six, check out the new Rick & Morty cosmetic bundles available for Siege, as well as our review for the latest game in the series, Rainbow Six Extraction.

Matt Purslow is IGN's UK News and Entertainment Writer.