Technologies
Apple’s AR/VR Headset: What Could Be Coming in 2023
The company’s next big product should arrive next year. Here’s what we expect.
This story is part of Focal Point iPhone 2022, CNET’s collection of news, tips and advice around Apple’s most popular product.
Apple has been integrating augmented reality into its devices for years, but the company looks like it will leap right into the territory of Meta, Microsoft and Magic Leap with a long-expected mixed-reality headset in 2023.
The target date of this AR/VR headset keeps sliding, with the latest report in early December from noted analyst Ming Chi-Kuo suggesting an arrival in the second half of 2023. With an announcement event that could happen as soon as January, we’re at the point where every Apple event seems to feel like the one where it could pull the covers off this device at last. Bloomberg’s Mark Gurman reported in early January that’s he’s heard the company is aiming to unveil the headset in the spring ahead of the annual Worldwide Developers Conference in June.
2023 looks like a year full of virtual reality headsets that we originally expected in 2022, including the PlayStation VR 2 and Meta Quest 3. Apple has already laid down plenty of AR clues, hinting at what its mixed-reality future could hold and has been active in AR on its own iPhones and iPads for years.
As far as what its device could be like, odds are strong that the headset could work from a similar playbook as Meta’s recent high-end headset, the Quest Pro, with a focus on work, mixed reality and eye tracking onboard.
Here’s what we’re expecting.
Is its name Reality Pro? Is the software called xrOS?
The latest report from noted Apple reporter Mark Gurman at Bloomberg suggests the operating system for this headset could be called «xrOS,» but that may not indicate the name of the headset itself. Recent trademark filings reported by Bloomberg showed the name «Reality» showing up a lot: Reality One, Reality Pro and Reality Processor. Apple’s existing AR software framework for iOS is named RealityKit, and previous reports suggested that «Reality OS» could be the name for the new headset’s ecosystem.
No one really expected the Apple Watch’s name (remember iWatch?), so to some degree, names don’t matter at this point. But it does indicate that Apple’s moving forward on a product and software, for sure.
One of several headsets?
The headset has been cooking for a long while. Reports have been going around for several years, including a story broken by former CNET Managing Editor Shara Tibken in 2018. Apple’s been building more advanced AR tools into its iPhones and iPads for years, setting the stage for something more.
Whatever the headset might become, it’s looking a lot more real lately. A detailed report from The Information earlier this year discussed likely specs, which include what Bloomberg’s Mark Gurman says is Apple’s latest M2 chip. According to another report from Bloomberg earlier this year, Apple’s board of directors have already seen a demonstration of the mixed-reality headset.
The expected arrival of this headset has kept sliding for years. Kuo previously predicted that Apple’s VR-AR headset would arrive in the fourth quarter of 2022 with Wi-Fi 6 and 6E support. But this VR-type headset could be the start of several lines of products, similar again to how Meta has been targeting future AR glasses. Kuo has previously predicted that Apple smart glasses may arrive in 2025.
Apple could take a dual headset approach, leading the way with a high-end AR-VR headset that may be more like what Meta has done with the Quest Pro, according to Bloomberg’s Gurman. Gurman also suggests a focus on gaming, media and communication on this initial first-wave headset. In terms of communication, Gurman believes FaceTime using the rumored headset could rely on Memoji and SharePlay: Instead of seeing the person you’re talking to, you’d see a 3D version of their personalized Memoji avatar.
Eventually, Apple’s plans for this headset could become larger. The company’s «goal is to replace the iPhone with AR in 10 years,» Kuo explained in a note to investors, seen by MacRumors. The device could be relatively lightweight, about 300 to 400 grams (roughly 10.5 to 14 ounces), according to Kuo. That’s lighter than Meta’s Oculus Quest 2. However, it’s larger than a normal pair of glasses, with early renders of its possible design looking a lot more like futuristic ski goggles.
Read more: The Metaverse is Just Getting Started: Here’s What You Need to Know
The headset could be expensive, maybe as much as $2,000 or more, with 8K displays, eye tracking and cameras that can scan the world and blend AR and VR together, according to a report from The Information last year. That’s to be expected, considering the Quest Pro costs $1,500 and AR headsets like the Magic Leap 2 and Hololens 2 are around $3,000.
It’s expected to feature advanced processors, likely based on Apple’s recent M2 chips, and work as a stand-alone device. But it could also connect with Apple’s other devices. That’s not a surprising move. In fact, most of the reports on Apple’s headset seem to line right up with how VR is evolving: lighter-weight, with added mixed-reality features via more advanced pass-through cameras. Much like the Quest Pro, this will likely be a bridge to future AR glasses efforts.
Previous reports on Apple’s AR/VR roadmap suggested internal disagreements, or a split strategy that could mean a VR headset first, and more normal-looking augmented reality smart glasses later. But recent reports seem to be settling down to tell the story of a particular type of advanced VR product leading the way. What’s increasingly clear is that the rest of the AR and VR landscape is facing a slower-than-expected road to AR glasses, too.
VR, however, is a more easily reachable goal in the short term.
Apple has been in the wings all this time without any headset at all, although the company’s aspirations in AR have been clear and well-telegraphed on iPhones and iPads for years. Each year, Apple’s made significant strides on iOS with its AR tools. It’s been debated how soon this hardware will emerge: this year, the year after or even further down the road. Or whether Apple proceeds with just glasses, or with a mixed-reality VR and AR headset, too.
I’ve worn more AR and VR headsets than I can even recall, and have been tracking the whole landscape for years. In a lot of ways, a future Apple AR headset’s logical flight path should be clear from just studying the pieces already laid out. Apple acquired VR media-streaming company NextVR in 2020 and it bought AR headset lens-maker Akonia Holographics in 2018.
I’ve had my own thoughts on what the long-rumored headset might be, and so far, the reports feel well-aligned to be just that. Much like the Apple Watch, which emerged among many other smartwatches and had a lot of features I’d seen in other forms before, Apple’s glasses probably won’t be a massive surprise if you’ve been paying attention to the AR and VR landscape lately.
Remember Google Glass? How about Snapchat’s Spectacles? Or the HoloLens or Magic Leap? Meta is working on AR glasses too, as well as Snap and also Niantic. The landscape got crowded fast.
Here’s where Apple is likely to go based on what’s been reported, and how the company could avoid the pitfalls of those earlier platforms.
Apple declined to comment on this story.
Launch date: Looks likely for 2023
New Apple products tend to be announced months before they arrive, maybe even earlier. The iPhone, Apple Watch, HomePod and iPad all followed this path.
The latest reports from Kuo point to possible delays for the release of the headset to the second half of 2023, but an event announcing the headset could happen as soon as January. That timeframe would make a lot of sense, giving time for developers to understand the concept well ahead of the hardware’s release, and even possibly allowing for Apple’s WWDC developer conference (usually in June) to go over specifics of the software.
Either way, developers would need a long head start to get used to developing for Apple’s headset, and making apps work and flow with whatever Apple’s design guidance will be. That’s going to require Apple giving a heads-up on its hardware well in advance of its actual arrival.
An Apple headset could be a lot like the Meta Quest, but higher end
There’s already one well-polished success story in VR, and the Quest 2 looks to be as good a model as any for where future headsets could aim. Gurman’s report makes a potential Apple VR headset sound a lot like Facebook’s stand-alone device, with controller-free hand tracking and spatial room awareness that could be achieved with Apple’s lidar sensor technology, introduced on the iPad Pro and iPhone 12 Pro.
Apple’s headset could end up serving a more limited professional or creative crowd. But it could also go for a mainstream focus on gaming or fitness. My experiences with the Oculus Quest’s fitness tools feel like a natural direction for Apple to head in, now that the Apple Watch is extending to subscription fitness training, pairing with TVs and other devices.
The Oculus Quest 2 (now officially the Meta Quest 2) can see through to the real world and extend some level of overlap of virtual objects like room boundaries, but Apple’s headset could explore passthrough augmented reality to a greater degree. I’ve seen impressive examples of this in headsets from companies such as Varjo. It could be a stepping stone for Apple to develop 3D augmented reality tech on smaller glasses designs down the road.
Right now, there aren’t any smart glasses manufacturers able to develop normal-looking glasses that can achieve advanced, spatially aware 3D overlays of holographic objects. Some devices like the nReal Light have tried, with mixed success. Meta’s first smart glasses, Ray-Ban Stories, weren’t AR at all. Meta is working on ways to achieve that tech later on. Apple might take a similar approach with glasses, too.
The VR headset could be a ‘Pro’ device
Most existing reports suggest Apple’s VR headset would likely be so expensive — and powerful — that it will have to aim for a limited crowd rather than the mainstream. If so, it could target the same business and creative professionals that more advanced VR headsets like the Varjo XR-3 and Meta Quest Pro are already aiming for.
I tried Varjo’s hardware. My experience with it could hint at what Apple’s headset might also be focusing on. It has a much higher-resolution display (which Apple is apparently going to try to achieve), can blend AR and VR into mixed reality using its passthrough cameras, and is designed for pro-level creative tools. Apple could integrate something similar to its lidar sensors. The Quest Pro does something similar, but in a standalone device without as high-end a display.
Varjo’s headset, and most professional VR headsets, are tethered to PCs with a number of cables. Apple’s headset could work as a standalone device, like the Quest 2 and Quest Pro, and also work when connected to a Mac or iPad, much like the Quest 2 already does with Windows gaming PCs. Apple’s advantage could be making a pro headset that is a lot more lightweight and seamlessly standalone than any other current PC-ready gear. But what remains unknown is how many apps and tools Apple will be able to introduce to make its headset feel like a tool that’s truly useful for creators.
Controls: Hand tracking or a small wearable device?
The Information’s previous reports on Apple’s headset suggest a more pared-down control system than the elaborate and large game controller-like peripherals used by many VR headsets right now. Apple’s headset should work using hand tracking, much like many VR and AR headsets already enable. But Apple would likely need some sort of controller-type accessory for inputs, too. Cracking the control and input challenge seems to be one of the bigger hurdles Apple could face.
Recent patent filings point to a possible smart ring-type device that could work for air gestures and motion, and maybe even work with accessories. It’s also possible that Apple might lean on some of its own existing hardware to act as inputs, too.
Could that controller be an Apple Watch? Possibly, but the Apple Watch’s motion-control capabilities and touchscreen may not be enough for the deeper interactions an Apple headset would need. Maybe iPhones could pair and be used as controllers, too. That’s how Qualcomm is envisioning its next wave of phone-connected glasses.
Future AR smart glasses may also be in the works
Getting people to put on an AR headset is hard. I’ve found it a struggle to remember to pack smart glasses, and find room to carry them. Most of them don’t support my prescription, either. Developer-focused AR glasses made by Snap that I tried at home show what everyday AR glasses could look like someday, but they’re still a work in progress.
Qualcomm’s plans for AR glasses show a wave of devices arriving between 2023 and 2025, but at this point no one has been able to crack making a perfect pair. Software, battery life and even common cross-platform interfaces remain a big challenge.
Kuo’s prediction of AR glasses coming a few years after a VR-AR goggle-type headset would line up with what other companies are promising. The challenges with AR glasses are a lot greater than VR. No one’s figured out how wearing them all the time would work, or how you’d interact with virtual objects: Hand tracking? A watch or a ring? Voice? Neural inputs?
Apple always touted the Apple Watch, first and foremost, as a «great watch.» I would expect the same from its glasses. If Apple makes prescription glasses and makes them available, Warby Parker-style, in seasonal frames from its Apple Stores, that might be enough for people if the frames look good. Apple’s VR headset, according to Gurman, will also offer prescription lenses. That could be a stepping stone to developing glasses later on.
Google acquired smart glasses manufacturer North in 2020, which made a prescription, almost normal set of eyewear. North’s concept for glasses might be too similar to Google Glass for Apple’s tastes, but the idea of AR glasses doubling as functional glasses sounds extremely Apple-like. More recently, Vuzix’s planned smart glasses for 2021 show how far the tech has shrunken down, but even those planned glasses won’t have the ability to spatially scan the world and overlay augmented reality: They’ll be more like advanced glasses with heads-up displays and 3D audio.
A report from The Information in 2020 said new AR lenses were entering a trial production phase for Apple’s AR hardware (9to5Mac also broke the report down). These lenses sound much closer to normal glasses than current AR headsets allow, but when would those be ready?
Could Apple make its first smart glasses something more basic, letting Apple slowly add more AR features over time and let newcomers settle into the experience? Or would Apple try to crack the AR challenge with its first pair of glasses? Augmented reality is a weird concept for eyewear, and potentially off-putting. Maybe Apple will aim for subtlety. The original Apple Watch was designed to be glanced at for just 5 seconds at a time.
A recent patent filing also showed Apple looking to solve vision conditions with adaptive lenses. If true, this could be the biggest killer app of Apple’s intelligent eyewear.
Are the AirPods Max a sign of how expensive a headset could be?
The business-focused HoloLens and Magic Leap cost thousands of dollars. Current VR headsets have trended towards $500 or more.
The latest price reports suggest something between $2,000 and $3000, which is in the territory of business-focused AR headsets like the HoloLens 2, or business-creative VR headsets like those from Varjo. An analysis from TrendForce published in February also estimates that an Apple headset’s hardware would cost in the thousands, and it predicts that Apple would employ a «monthly subscription-based software solution.»
Apple’s headphones, the AirPods Max, indicate that the pricing could climb high. At $549, they cost more than a PlayStation 5. And those are just headphones. A pair of smart glasses, or an advanced VR headset, would be a lot more advanced.
iPhone-connected, too?
Qualcomm’s AR and VR plans telegraph the next wave of headsets: Many of them will be driven by phones. Phone-powered glasses can be lighter and just have key onboard cameras and sensors to measure movement and capture information. Meanwhile the phone does the heavy lifting and doesn’t drain headset battery life.
Apple’s star device is the iPhone, and it’s already loaded with advanced chipsets that can do tons of AR and computer vision computation. It could already power an AR headset right now; imagine what could happen in another year or two.
Apple could also have its own high-end dedicated chip in its first wave of VR and AR headsets, as reports suggest, but they’ll also undoubtedly dovetail with more advanced processors in Apple’s phones, tablets and Macs. Over time, this could mean smaller glasses that lean on connecting to other Apple devices, or the cloud.
How Apple could blend the real world with AR and VR
Apple already dabbles with AR overlays with real world locations: QR code and NFC-enabled App Clips can launch experiences from real-world locations with a tap or scan. These micro apps are made to work with AR, too: With glasses or an AR headset, they could eventually launch interactions at a glance.
Maybe QR codes can help accelerate AR working in the «dumb» world. Apple’s iPhones also have a U1 chip that can be used to improve accuracy in AR object placement, and also to more quickly locate other Apple devices that have the U1 chip, too.
Apple’s AirTags arrived in 2021 with features similar to Samsung’s SmartTags Plus that use similar ultrawideband technology. These tags could be seen via an iPhone app using AR, which could possibly extend into Apple’s future VR or AR headsets. If all Apple’s objects recognize each other, they could act as beacons in a home. The U1 chips could also be indoor navigation tools for added precision.
Microsoft’s collaborative mixed-reality platform, Mesh, shows how meetings with people in virtual spaces could happen instantly and in work-like environments. Apple already enables multiperson AR in real places, but a necessary next step would be to allow a platform for collaboration in AR and VR like Microsoft is developing.
Apple’s depth-sensing hardware is already here
Apple is already deeply invested in camera arrays that can sense the world from short and long distances. The front-facing TrueDepth camera, which Apple has used on every Face ID iPhone since the X, is like a shrunken-down Microsoft Kinect and can scan a few feet out, sensing 3D information with high enough accuracy to be used for a secure face scan. Apple’s lidar technology on its recent iPhones and iPads can scan out much further, several meters away. That’s the range that glasses would need.
Apple’s existing lidar technology, combined with cameras, is already good enough to scan environments and 3D objects. Add to this the wider-scale lidar scanning Apple is doing in Maps to enable overlays of real-world locations with virtual objects via a technology called Location Anchors, and suddenly it seems like the depth-scanning Apple is introducing could expand to worldwide ambitions.
Apple’s new Mac chips already point toward VR-AR compatibility
Apple’s M1-enabled Macs and those since are technically a lot more capable of the power needed to run AR and VR, and they share similarities to how iPhone and iPads handle graphics. Developing a common groundwork across devices could allow a headset to feasibly run on an iPhone, iPad or Mac, making it a universal Apple device accessory.
That would be essential if Apple intends on its VR or AR headsets to have any role in creative workflows, or be used for games or apps. It’s one of the limitations of existing VR headsets, which need to run off particular Windows gaming PCs and still don’t play that well with iOS or Android phones.
Look to AirPods for ease of use — and audio augmented reality
I’ve thought about how the AirPods’ comfort — and weird design — was an early experiment in wearing Apple’s hardware directly on our faces — and it was a success. It proved that doing so could be accepted and become normal. AirPods are expensive compared to in-box wired buds, but they’re also utilitarian. They’re relaxed. If Apple’s working on AR or VR headsets, they’ll need to feel the same way.
The AirPod Pros’ spatial audio, which AirPods Max and AirPods 3 also have, points to where future ideas could head. Immersive audio is casual, and we do it all the time. Immersive video is hard and not always needed. I could see AR working as an audio-first approach, like a ping. Apple glasses could potentially do the world-scanning spatial awareness that would allow the spatial audio to work. In the meantime, Apple’s already developing the spatial audio tech that its VR headset would need.
Apple Watch and AirPods could be great companions
Apple’s already got a collection of wearable devices that connect with the iPhone, and both make sense with glasses. Its AirPods can pair for audio (although maybe the glasses have their own Bose Frames-like audio, too), while the Watch could be a helpful remote control. The Apple Watch already acts as a remote at times, for the Apple TV or for linking up with the iPhone camera. Apple’s future headsets could also look to the Watch and expand its display virtually, offering enhanced extras that show up discreetly, like a halo. Or they could use the Watch as some sort of controller.
The Apple Watch could also provide something that it’ll be hard to get from hand gestures or touch-sensitive frames on a pair of glasses: haptics. The rumbling feedback on the Watch could lend some tactile response to virtual things, possibly.
There’s already a low-cost pair of phone goggles, the HoloKit X, that explores these ideas. It uses an iPhone for the headset’s display and cameras and can channel spatial audio to AirPods, and use an Apple Watch for gesture controls. Apple could do the same.
Could Qualcomm and Apple’s reconciliation also be about XR?
Qualcomm and Apple are working together again on future iPhones, and I don’t think it’s just about modems. 5G is a key feature for phones, no doubt. But it’s also a killer element for next-gen AR and VR. Qualcomm has already been exploring how remote rendering could allow 5G-enabled phones and connected glasses to link up to streaming content and cloud-connected location data. Glasses could eventually stand on their own and use 5G to do advanced computing, in a way like the Apple Watch eventually working over cellular.
Qualcomm’s chipsets are in almost every self-contained AR and VR headset I can think of (Meta Quest, HoloLens 2, a wave of new smart glasses, the latest version of Google Glass, Vive Focus). Will Apple’s tech dovetail at all with Qualcomm’s cross-device platforms?
Technologies
Anthropic’s New Claude Opus 4.5 AI Model Is Designed for Coding and Office Work
The new reasoning model can also power the Claude for Chrome AI browser extension.
Anthropic’s newest version of its most powerful generative AI model could upend how you manage your spreadsheets. The company said Claude Opus 4.5, announced Monday, is aimed at things you do on the job, like coding and office work.
Google unveiled its powerful new Gemini 3 model last week, and OpenAI released GPT-5.1 the week before. Now it’s Anthropic’s turn. The company, which is popular with businesses and software workers, said Opus 4.5 is focused on getting work done, not generating content.
Claude Opus 4.5 will be available everywhere and will be a default model for Pro (starting at $17/month), Max (starting at $100/month) and Enterprise users.
Opus 4.5 is built to produce documents, spreadsheets and presentations and can automate menial office tasks by using your computer and browser. That includes its deployment in Claude for Chrome, a browser extension that lets Claude do internet tasks for Max users.
This release puts all three Claude models in the 4.5 generation. Anthropic released Sonnet 4.5, its midlevel model, in September and Haiku 4.5, its smallest model, in October.
Advanced reasoning models like Opus are designed to handle complex, demanding tasks. While a smaller, cheaper large language model will provide an answer based on the probabilities in its training data, a reasoning model will rerun and refine its operations to get a better or more complete answer. This takes longer, but it means the AI can handle more difficult operations.
Reasoning models are particularly useful for complicated programming projects or intensive research. The downside is they are slower and more expensive to run, which is why companies often restrict them to paid plans or have strict limits on usage.
Technologies
New Spotify Feature Pulls Playlists Straight From Other Music Services
Moving to Spotify used to mean manually recreating your playlists or relying on third-party tools. Now, it’s seamless.
I use Spotify for hours every single day: on commutes, while cooking, during workouts, when walking my dog. Essentially, whenever life grants me a spare minute, I’m streaming Spotify. But even with all that listening, I’ve always wished the app had an easy way to scoop up the playlists I’d built on other music services. I’d call myself a Spotify loyalist, but there are some songs, such as covers or live versions, that are only available on other platforms.
Spotify finally delivered by recently rolling out a built-in feature that lets you import playlists from rival platforms directly into your library.
Read also: You Can Have ChatGPT Make You a Spotify Playlist. But Why Would You?
Don’t miss any of our unbiased tech content and lab-based reviews. Add CNET as a preferred Google source.
Spotify’s new playlist transfer feature
Spotify announced late last week that it’s launching a new «Import your music» option in its mobile app. This feature, powered by TuneMyMusic, enables listeners to seamlessly import entire playlists from competing services directly into their Spotify library.
At launch, Spotify supports transfers from major platforms including Apple Music, YouTube Music, Amazon Music, Tidal, Deezer, Pandora, SoundCloud and more.
The original playlists remain intact. Spotify doesn’t delete or alter them from the source app when it makes a copy in your Spotify account.
Read also: How to Find Your Spotify Wrapped All Year Round
Why this matters for Spotify users
- No more rebuilding your playlists from scratch: Previously, moving to Spotify meant manually recreating your playlists or relying on third-party tools. With this integration, Spotify handles the heavy lifting.
- Unlimited transfers: Unlike some free third-party services that limit the number of songs or playlists you can transfer, Spotify’s in-app solution supports unlimited transfers.
- Better personalization: Once your playlists are in Spotify, they feed directly into Spotify’s recommendation algorithms. That means personalized features like Daylist and Release Radar start getting smarter right away.
- More to do with your music: After importing, you can remix your playlists by inviting friends to collaborate, designing custom cover art or adding transitions between songs if you’re a Premium user.
Read more: Spotify’s Recaps Feature Helps You Return to Audiobooks You’ve Already Started
How to transfer your playlists to Spotify
Here’s a quick how-to so you can bring your favorite playlists over:
- Open the Spotify mobile app on your phone.
- Go to Your Library.
- Scroll to the bottom. You should see a new option title, «Import your music». Tap that.
- Follow the prompts to connect to TuneMyMusic. You’ll need to authenticate your account for the service you’re importing from.
- Choose the platform you’re moving from (Apple Music, YouTube Music, SoundCloud, etc.).
- Select the playlists you want to import.
- From there, Spotify will copy them into your library. Once complete, you’ll find them in your Spotify «Playlists» list.
Technologies
‘Am I the Problem?’ Why Gaming Crossovers Are a Love-Hate Thing
In navigating my own relationship with the phenomenon of characters from one game appearing in another, I talked to some of the devs behind the games to get a better sense of how these crossovers work and why companies pursue them.
When my friends want to play Magic: The Gathering, I wade through my two-dozen or so decks built for Commander — the card game’s casual, multiplayer format. I might choose the deck built around Elenda, the Dusk Rose, a vampire saint who can create legions of vampires. Maybe I’ll take my Narset, Enlightened master deck, which lets me cast powerful spells for free when she attacks. Both Elenda and Narset are original characters from Magic: The Gathering.
Or maybe I’ll grab my Lightning, Army of One deck, constructed around the Final Fantasy 13 character, so I can attack people for absurdly high amounts of damage. Maybe my Godzilla deck will engage in glorious combat against my friends’ decks led by characters from Dracula or Warhammer 40K. Would Eowyn from Lord of the Rings be a better match-up against the forces of the Imperium?
It’s a double-edged sword, this impulse toward crossovers. And it’s happening in games far beyond Magic: The Gathering.
Overwatch featured skins from Persona 5 in September, Halo armor and weapons showed up in Helldivers 2, and edgy looter shooter Borderlands 4 is showing up in… golf game PGA Tour 2K25. The crossover crown lies eternally with Fortnite, thanks to its never-ending influx of skins from games, movies, comics and real-life celebrities — leading players using the Sabrina Carpenter skin to stop shooting each other and, say, hold impromptu concerts instead.
When the elements fit each other are handled with care, it’s a fun way for fans to engage with multiple interests simultaneously. But when it feels carelessly thrown-together or when the elements don’t mesh, it can feel like a cash grab that hollows out the original property. And what works for one player might feel egregious or immersion-breaking to another.
«Am I the problem?» I ask myself, as I work on a fourth Magic deck built around a Final Fantasy character, after spending hundreds of dollars on cards and accessories from the set.
I do realize that the money I spent on the release event and weekly drafts screamed to Hasbro, «It’s working!» At the same time, playing with cards from that Final Fantasy set was also the most fun I’ve had with Magic in several years.
Corporations betting big on brand crossovers feels like the unavoidable consequence of a world in which players look more and more for customization and ways to show off their personalities and interests, which dovetails with companies looking for lucrative ways to attract new players and increase revenue in ongoing games. Is other media filtering into popular games about the joy of including familiar faces, or does it turn characters into digital bumper stickers, starved of their identity from their original context?
The answer, like it or not, is both.
Money is a big part of the motivation, but expanding reach and offering customization also factor in
Blending different properties together generally requires an intense collaboration between the property owners and the game inviting the crossover. So what makes these gaming collaborations worth it for those parties?
There’s a financial incentive, to be certain, as Hasbro has made astonishingly clear. In its second-quarter 2025 earnings call, CEO Chris Cocks noted that Magic: The Gathering’s Final Fantasy set made $200 million in revenue in one day, while it took the Lord of the Rings set six months to hit that milestone. To put those two collaborations in the context of original Magic: The Gathering sets, the bestselling Magic set before Lord of the Rings was Modern Horizons, which made $200 million over two years.
Admittedly, $200 million in 24 hours is performance that Magic: The Gathering will likely struggle to replicate, even with the overabundance of outside properties coming next year: Teenage Mutant Ninja Turtles, The Hobbit, Star Trek and Marvel. Still, Cocks said the company feels good about the collaborations set to launch next year in terms of pleasing players and bringing in revenue. And Final Fantasy ultimately points to the financial power of a good gaming crossover, one where the properties are handled thoughtfully and intentionally (even if some of that intention is making the collaboration more collectible).
To better understand how and why these crossovers happen, I talked with some of the people powering these gaming collaborations.
There were «a lot of clues» both internally and externally that Magic could support these kinds of crossovers in the game, said Aaron Forsythe, Magic: The Gathering’s vice president of research and development.
Sets like Lord of the Rings and Final Fantasy can also help funnel new players into a game that has been around since 1993.
«With Final Fantasy, we have seen a marked increase in play participation, especially among players who haven’t previously participated in our Organized Play programs,» said Rebecca Shepard, the vice president of franchise for Magic: The Gathering. That participation also extends after the launch of sets based on the other properties, which Magic brands Universes Beyond.
She noted that Universes Beyond releases also lead to increased interest in older products, demonstrating the crossovers’ ability to drive interest in the game’s original creations.
Magic’s designers have spent decades creating multiple in-game worlds or «planes» with their own lore, characters and mechanics. To a certain degree, crossovers are baked into its premise.
But what about something with a considerably smaller scope, like the hero shooter Overwatch 2? The team-based game is set in nearish future Earth, where other Blizzard games like Diablo and Starcraft are minimal parts of the world as references and outfits. But aside from a small Lego crossover, other external properties were mostly only winked at… until the game introduced skins from the popular manga and anime One-Punch Man back in 2023.
The game’s collaborations started out as infrequent events, but now show up roughly every season.
The Overwatch team was nervous for its first collaboration and took a cautious approach, said Aimee Dennett, Overwatch’s associate director of product management. Devs wanted to ensure that heroes were still recognizably Overwatch characters while also maintaining the integrity of the game’s lore. The solution was described as «our characters are cosplaying,» meaning that the Overwatch heroes maintain the iconic parts of their visual identity, while incorporating elements that are recognizable as the characters from the crossover properties.
There are also internal motivations for these opportunities.
«We’ve found that it has such a positive effect on the team,» said Overwatch’s Art Director, Dion Rogers. People who work on the game are also fans of these properties, and the opportunity to design those crossovers can be a creative spark for the developers.
Fortnite didn’t start the party, but it did invite basically everyone
Fortnite is the de facto example of crossovers in gaming. It represents an astonishing evolution of a concept that kicked off decades ago.
Video game publishers were firmly protective of their properties to keep their games unique, but gaming website Giant Bomb asserts that crossovers started in earnest with 1992’s Battle Soccer, where Godzilla could take the pitch against giant mech Gundams and superheroes from Japanese TV. A few years later, Marvel’s X-Men faced off against Street Fighter characters in a move that would eventually spawn the Marvel vs. Capcom series of fighting games.
Crossovers ramped up in the 2000s with Sonic the Hedgehog and Solid Snake as the first two characters not owned by Nintendo to show up in Smash Bros. Brawl, a few years before horror movie villain Freddy Krueger first appeared in a Mortal Kombat game. Thematically, these all make some sense — but Fortnite took crossovers to another level.
The crossovers started with the Infinity Gauntlet limited-time mode, where players could transform into Thanos, the villain of the 2019 film Avengers: Infinity War. It was quickly followed by the first Marvel-themed skins for Black Widow and Star-Lord that any player could wear. That kicked off a wave of Fortnite crossovers that would grow beyond Marvel to also include DC Comics, Star Wars, celebrities and various other games.
More have followed in Fortnite’s wake. The jump to include characters from other media besides video games has proven popular, with games like Mortal Kombat bringing in the villainous superhuman Homelander from The Boys, and the asymmetrical PVP horror game Dead by Daylight leaning heavily into killers and survivors from various games and movies — and also Nicolas Cage as himself, delivering some truly amazing voice lines.
Still, when it comes to bringing in everything from everywhere, nothing tops Fortnite, where crossover events feel less like guest stars and more like the first stop for major franchise promotion. And the cumulative results are, for lack of a better word, bonkers. Now a squad of Ariana Grande, Billie Eilish, Lady Gaga and Sabrina Carpenter can face off against a squad made up of Darth Vader, the Joker, Thanos and Mortal Kombat’s Sub-Zero… and then perform *NSYNC’s Bye Bye Bye dance on the villains’ corpses.
Epic Games, the makers of Fortnite, declined to comment for this story.
Convenience and customization… at a cost
While crossovers with other properties help bring revenue and new players into games, they also risk alienating players whose primary interest is in their games’ original concepts and who may feel the crossovers move the game away from its identity.
«We listen and learn more than folks realize but at the same time, our goal of making Magic for everyone — because it is — can also frustrate our existing players,» said Shepard in response to a question about the feedback to Universes Beyond and the seemingly polarized responses online.
You can see that frustration in videos from prominent Magic creators, with titles like «The Problems With Universes Beyond — Even if You’re NOT a Hater» and «Half of Magic: The Gathering Will Not Be Magic: The Gathering.» The discussions in those videos touch on multiple elements, but center around the proportion of and execution of Universes Beyond sets and how those sets do or don’t gel with the rest of the game.
That tension exists with most gaming crossovers. I wasn’t initially a fan of Overwatch’s move into collaborations. For me, the image of Doomfist in a yellow suit and flowing cape cheapened a character who’s supposed to be a surly big bad in the Overwatch universe. To me, it felt tonally mismatched with his identity, and I feared Overwatch feeling less like Overwatch as a result.
But the response I saw was largely positive. A change being celebrated doesn’t mean it’s necessarily good for the game, nor does outcry mean a change is bad. But there were clearly people who wanted the customization and expression of anime skins, highlighting the tension inherent in gaming collaborations like this.
Magic’s Aaron Forsythe acknowledged the competing interests, saying, «Players that have been with us for a while don’t feel the need for a change of this magnitude, and I appreciate how this hits them. But we’re doing this both because we want to grow the game — and we are — and because we think it’s another really fun way to enjoy it.»
For longstanding fans who have played the game for years, perhaps even decades, it may feel like the resources for the game’s original ideas are being diverted to fuel crossovers.
There are degrees, though. In the case of Magic: The Gathering, one-time Secret Lair drops like Sonic the Hedgehog that mostly show up in casual multiplayer formats may not seem as disruptive. But over the course of next year, Magic will release four more sets based on outside properties, bringing the total to seven such sets in two years. More than any individual card or set, that density of outside properties might feel particularly unwelcome, contributing to the feeling that it’s just Fortnite now.
Everyone is here (and here to stay)
I think a lot of the response to crossovers comes down to two things: how well the concept fits and how good the execution is. Fortnite itself has become a conglomeration of various game types — from Battle Royale to Lego to Ballistic, festivals and Creative modes — so the game featuring skins from all kinds of movies, games and celebrities sort of fits into that «everything for everyone» idea.
Something like Dead by Daylight is an example of using crossovers with a narrower focus, incorporating horror icons that fit its gameplay and lore. Resident Evil characters trying to escape from Halloween’s Michael Myers doesn’t make total sense, but there’s enough of an internal logic in the genres of slasher films and survival horror games for it to work.
And, despite my initial reservations about Overwatch’s collaborations, I was immediately enthralled when I saw Kiriko’s Suki skin from Avatar: The Last Airbender. In addition to giving me a new outlet for my favorite character from the show, it just fit the visual identity and the concept of the Overwatch hero, a protector in her own right.
The people behind the games acknowledge how much that matters. «If we don’t do this right,» Overwatch’s Rogers told me, «the fans will call us out.» Players have their own ideas of what fits and what doesn’t, and they aren’t shy about voicing those feelings. But Rogers said that getting it right instead helps maintain the identity of the game’s heroes.
Similarly, Magic’s Shepard said one step in the process of evaluating potential crossovers is feeling out whether it feels like «an authentic relationship» for the game and its players. The challenge, however, is that each player’s mileage will vary when it comes to that authenticity.
There’s no putting these crossovers back in the box, for better and worse. We’ll continue to have more options to play as our favorite characters across a variety of games. Right now, if I wanted to, I could fire up Street Fighter 6 and play a game as Chun-Li in the context of her original series. I could then swap over to Fortnite and run around sniping people as Chun-Li before logging into Overwatch and playing as Juno in her Chun-Li skin, healing people with a Martian mediblaster. And then over the weekend, I could play Magic: The Gathering with my friends and pull out a deck built around a Chun-Li character card.
For Chun-Li superfans, that’s great. At the same time, my Magic opponents may be sick of playing against characters from Stranger Things, Jurassic Park and Marvel, which might break the immersion of the game for them.
The demand is there and the complaints are valid. Companies will follow the money. But each game’s developers have to find their own way of squaring the crossover — justifying (or not) how another creative world collides with theirs.
For Overwatch’s Dennett, as the game grows and changes, so does the team’s philosophy about collaborations — because pushing the boundaries of what’s possible in the hero shooter sparks the imaginations of its player base.
«It’s sort of a self-reinforcing cycle, where our players grow and change so much, and so do the types of collaborations, and the types of collaborations change, which grows and changes our players.»
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Correction, Nov. 24: A previous version of this story misspelled the name of Hasbro CEO Chris Cocks.
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