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  1. Today
  2. Fido_le_muet

    No Man's Sky Screenshots

    @LimeGreenLegend Holy shit there are people in the Atlas interface?
  3. Con

    ps4 No Man's Sky

    Sorry can't answer that. I Haven't left the home planet yet.
  4. Beez

    Gfred Friday (Potato)

    I can fill in to host this if needed. I have a mixed playlist ready.
  5. SINISTER120

    Car videos

    Wow, some real life GTA racing going on there.
  6. Last week, we asked you to focus the lens on the unique, procedurally-generated creatures of No Man’s Sky. While you hopped from planet to planet, we sifted through your wildest encounters in #PS4share and #PSBlog hashtag. These critters took the spotlight: @TheMaffiamaster captured this leathery striped lizard on a burnt orange planet. This bat-faced bird soars through @dinkleberrygaming’s planet. @TheFourthFocus stumbled across a famous of “rhino-cows”. @SpiffSnaps found a group of dinosaur looking critters. @FifthDream caught a close up of this crustacianesque creature. @OttoNimm spotted a “Horned Hippodon” on their vacation planet. Search #PS4Share and #PSBlog on Twitter or Instagram to see more entries to this week’s theme. Want to be featured in next week’s Share of the Week? Theme: Uncharted 4 Share by: 9am Pacific on Wednesday, August 22 Next week, join Nathan Drake on his greatest adventure and share treasured moments from Uncharted 4 using #PS4shre and #PSBlog for a chance to be featured. View the full article
  7. LimeGreenLegend

    No Man's Sky Screenshots

  8. Starting today, PlayStation Gear is offering savings on more than 200 products across a range of gaming brands, from ice cubes and t-shirts to collectible statues and themed playing cards. The sale runs until midnight on Tuesday 28th August, with discounts on selected merchandise for the following: PlayStation: Save up to 50% Call of Duty: Save up to 40% Destiny: Save up to 35% Fallout: Save up to 20% Assassins Creed: Save up to 30% Bloodborne: Save 20% Crash Bandicoot: Save up to 50% Dark Souls: Save up to 25% Doom: Save 15% Dragon Ball Z: Save up to 25% Final Fantasy: Save 15% God of War: Save up to 20% Kingdom Hearts: Save 15% Mass Effect: Save 15% Mortal Kombat: Save 15% Overwatch: Save 15% Street Fighter: Save up to 35% The Last of Us: Save 10% Titanfall: Save 15% Uncharted: Save up to 37% Discover the full list of clothing, collectibles and more included in the sale at www.playstation-gear.com Furthermore, we also have a selection of multi-buy offers available. 3-for-€36 on selected Funko Pop! 2-for-€30 on Stubbins Buy one, get second half-price on selected framed prints Buy one, get second half-price on selected mugs All this and more is available at www.playstation-gear.com, the official home of PlayStation inspired merchandise – so what are you waiting for?! The post Huge savings on hundreds of products in the PlayStation Gear Summer Sale appeared first on PlayStation.Blog.Europe. View the full article
  9. Though the 2018 summer heatwave might have taken a little siesta these past few weeks in some places, we’ve been keeping that scorching spirit alive with a bundle of red-hot deals in our PlayStation Store Summer Sale. If you’ve not yet had a chance to check it out, then what are you waiting for? Time is ticking and there are stacks of discounts to be getting in amongst – particularly if you’re the lucky owner of PlayStation VR. In fact, PS VR owners might even be spoilt for choice, so with that in mind, we’ve put together a quick rundown of some of our favourite gems up for grabs in the sale this weekend. Why not take a browse and pick something out? You know, just in case it rains. 1. Superhot VR Best foot forward: Time-bending, weapon-wielding bad-ass simulator. What’s to love: A stupendously entertaining re-invention of the first-person shooter, Superhot stakes its brilliance with a single, simplistic mechanic: time only moves when you do. Tear through a room, pausing from moment-to-moment to side-step bullets, dispatch your adversaries and snatch-up weapons as they tumble through the air – Neo, eat your heart out. Pick up Superhot VR for less in our PlayStation Store Summer Sale 2. Rez Infinite Best foot forward: An exhilarating, audio-visual tour-de-force. What’s to love: A modern re-imagining of the PlayStation 2, rhythm-driven rail shooter Rez, Rez Infinite amps up the visuals and features, and even adds new levels as it hops onto PlayStation VR. A psychedelic, truly one-of-a-kind experience, words will simply do no justice here; check out the video above to get a real idea of what to expect. Pick up Rez Infinite for less in our PlayStation Store Summer Sale 3. Raw Data Best foot forward: ’80s sci-fi action pulp meets kinetic shooter… also, laser swords. What’s to love: Sporting arguably one of the best trailers for a VR game to date (see above), Raw Data combines Blade Runner-era tech-noir aesthetics with modern shooter mechanics and free-roam virtual reality level design: evil mega-corps, killer robots, dramatic soundtracks… children of the ’80s will feel right at home. Pick up Raw Data for less in our PlayStation Store Summer Sale 4. Statik Best foot forward: A blackly-comic, brilliantly-designed, sci-fi brain teaser. What’s to love: Among the more boldly unique uses of the virtual reality medium, Statik combines a sardonic sense of humour with ingenious levels of environmental, spatial and conceptual puzzle design that delivers an experience at once both claustrophobic and compelling. Strapped to a chair, your hands bound inside a mechanical puzzle box, it’s up to you alone to figure your way out – good luck! Pick up Statik for less in our PlayStation Store Summer Sale 5. Apex Construct Best foot forward: High-concept, first-person sci-fi exploration with a sweet bow. What’s to love: Apex Construct puts a big emphasis on both the prowling robotic monstrosities that have overthrown the Earth and the exploration of that now collapsed world. Familiar mechanics will have your foraging for upgrades, hunting out hidden paths and revisiting areas to maximise your player build. A game in the very traditional sense, Apex Construct marries that unbeatable level of VR immersion with tried-and-tested gameplay. Pick up Apex Construct for less in our PlayStation Store Summer Sale 6. I Expect You To Die Best foot forward: A tongue-in-cheek puzzle-caper with golden-age cinema stylings. What’s to love: I Expect You To Die is a clever combination of slapstick visual gags, a Dick Tracy-esque crime caper and off-the-wall puzzle design. Embark on numerous hazardous operations and do your best to outwit Dr Zor and the Zoraxis Organisation (yes, it’s daft!) before reporting back to the super-secret Enhanced Operatives Division with your findings. Pick up I Expect You To Die for less in our PlayStation Store Summer Sale 7. Wayward Sky Best foot forward: Charming, lightly-paced puzzle-adventure with stellar art direction. What’s to love: Designed chiefly around offering a less-intense VR experience, Wayward Sky imports classic point-and-click adventure design into a hybrid, virtual reality experience that comprises a light-hearted Pixar-style plot, maze-like exploration and steampunky puzzle traps. Pick up Wayward Sky for less in our PlayStation Store Summer Sale 8. Psychonauts in the Rhombus of Ruin Best foot forward: A fresh slice of the classic Psychonauts universe, exclusively for PS VR. What’s to love: A continuation of the cult-classic universe created by Tim Schafer’s Double Fine Productions, Psychonauts in the Rhombus of Ruin brings the studio’s inimitably quirky aesthetics into a new first-person perspective and the added immersion of PS VR. Reprising the role of plucky young psychic Raz, you’ll have to project yourself into the mind of your crew to overcome obstacles, solve puzzles and uncover the identity of your mysterious kidnapper. Pick up Psychonauts in the Rhombus of Ruin for less in our PlayStation Store Summer Sale 9. Rick and Morty: Virtual Rick-ality Best foot forward: Take a ride into the warped, science fantasy world of Rick Sanchez. What’s to love: A chance to dive inside the cult comedy cartoon series of Rick and Morty, Virtual Rick-ality transports you to the ever-hazardous garage laboratory of the most intelligent man in the universe, Rick Sanchez. Hop through portals, travel through time and display a casual disregard for health and safety – I’m sure it’ll all be fine! Pick up Rick and Morty: Virtual Rick-ality for less in our PlayStation Store Summer Sale 10. Star Trek Bridge Crew Best foot forward: Helm your own Federation star ship and explore the far reaches of space. What’s to love: Pull on your Starfleet pyjamas, it’s time to live out the ultimate Trek fantasy as you – and up to three friends – take command of dreadnought-class star ship The Aegis. Explore an uncharted stretch on the space known only as ‘The Trench’, in search of a new home-world for the Vulcan population. Engineering, navigation, command – it’ll all be up to you and your team in your on-going mission. Pick up Star Trek Bridge Crew for less in our PlayStation Store Summer Sale 11. The Invisible Hours Best foot forward: Highly-stylised murder mystery from the creators of Rime. What’s to love: Get embroiled in a proper who-dunnit as you find yourself trapped in a mansion with some of the nineteenth century’s most infamous figures. Trade witticisms with the likes of Thomas Edison and Sarah Bernhardt as you explore a vast home that once belonged to enigmatic scientist Nikola Tesla. Tense and dramatic with top-notch voice acting throughout, The Invisible Hours is a wholly different turn for the VR space. Pick up The Invisible Hours for less in our PlayStation Store Summer Sale 12. Dirt Rally VR [add-on] Best foot forward: Codemaster’s long-running and critically-acclaimed rally series is now VR compatible. What’s to love: If you’ve already got Dirt Rally among your racing library on PS4, then be sure to check this one out. This expansion pack adds VR compatibility for the entire game, meaning you can now get behind the wheel of some of the world’s most powerful rally cars and cruise the scenic and – incredibly tense – stages from iconic locations around the world. Pick up Dirt Rally VR add-on for less in our PlayStation Store Summer Sale 13. The Lost Bear Best foot forward: An enchanting, eerie and artistically sumptuous side-scroller. What’s to love: In a unique take on virtual reality, The Lost Bear brings together classic side-scrolling 2D action with fully-realised, 3D environments to deliver an uplifting, often challenging platform adventure. Guiding lost youngster Walnut through a perilous woodland, you’ll need to use both the 2D and 3D planes to overcome the obstacles that stand in her way. Pick up The Lost Bear for less in our PlayStation Store Summer Sale The post 13 awesome PS VR experiences that are cheaper on PlayStation Store this weekend appeared first on PlayStation.Blog.Europe. View the full article
  10. Fido_le_muet

    ps4 No Man's Sky

    Hey are there still crashed starships to be found on planets ? Haven't seen one since I started playing. Do you have to use the portable signal booster to find one ? I haven't seen those transmission towers as well since the update.
  11. djw180

    Crew Challenge 162 - Two Times Bounty Challenge

    Thanks Snacks. I'm the same, sorting the new house out. I think I will be unpacking, putting shelves up, etc etc at the weekend. But I should get some free time Saturday morning.
  12. Dodge

    Car videos

    This has to be seen to be believed...
  13. Not sure where he was going but Hatch had other plans during this race.
  14. Smurf

    Anyone else here playing H1Z1?

    PS4. Hopefully they have updates that will fix that. Test it out for yourself though @zztop911
  15. zztop911

    Anyone else here playing H1Z1?

    Regular or PS4 Pro?
  16. Yesterday
  17. no_snacks

    Crew Challenge 162 - Two Times Bounty Challenge

    Still really busy here, so there's only a 50/50 chance I'll be able to get on at those times, @djw180. Will make a shout/post if I'm available. If you've already found a partner by then, I'll see if anyone else is available to join up with.
  18. Con

    No Man's Sky Screenshots

    Gorgeous! Cannot wait to contribute!! I also have decided that when I build my first base, I will be naming the Fauna on that planet after XDBX members, so yes, there will be a LimeGreenLegend, a Protocawl, "Look, there's Fidos on this planet!", etc....JustHatch will get a flying beast named after him, etc. Can't wait! I will post the pictures of the XDBX fauna too!
  19. LimeGreenLegend

    No Man's Sky Screenshots

    @Con @Fido_le_muet here it is
  20. Hello! My name is Denny Yeh. I’m a Senior Staff Combat Designer here at Sony Santa Monica Studio. Today I’d like to take you behind the scenes to talk a little bit about the development of one of our showcase boss fights in the new God of War. A warning to those who haven’t played the game yet: there will be SPOILERS for a certain boss fight to follow. If you’d prefer to experience it on your own first, kindly look away (and go buy our game)! Otherwise, scroll down to begin the journey. The God of War series has always had some spectacular opening boss fights: The Hydra, The Colossus of Rhodes, Poseidon and his water pony, among others. During these fights, the camera was usually zoomed out very far to show a sense of scale. This was because these fights all had one big thing in common: Kratos was fighting a massive foe. Get it? I said “big thing” because they’re massive. More to come, folks! We knew we needed to do something just as epic in the new God of War, so when it was decided that the opening boss fight of the game was going to be against a smaller humanoid that was only about as tall as Kratos’ shoulder, we knew we were in for a big challenge. This is the (greatly condensed) story of how we created the boss fight with “The Stranger,” aka Baldur. So, how do we make fighting a guy this small feel as big as fighting the giant bosses of previous God of War games? We do the opposite of what we always did…zoom the camera in closer! Not that close! That’s better. The close camera would help to sell the impact of each punch. These were two gods trading blows, so each hit needed to resonate with incredible force. Much of our early development time was spent on the “feel” of the fight. We wanted the player to feel like a god fighting a god, with the environment around you paying the price. We began with our animator, Fabian Johnston, doing some exploratory animations. These helped set the tone of the entire fight. It was not long before we had them running in the game, with a whole bunch of breakable objects sprinkled about. This first prototype focused on answering a few questions: How much can we push the godly reactions on both Kratos and Baldur before it starts feeling like too much? How far can we go with environmental destruction? How dense can we make the breakable trees and rocks before they start interfering with gameplay? Do these add enough to the feel of the fight to be worth pursuing? What size does the arena need to be to accommodate all of our other requirements? As you can see, things were pretty rough at this early stage. However, it was already fun to control Kratos versus Baldur and to experience all the over-the-top reactions while playing. It was especially fun trying to angle the camera to knock Baldur through trees and rocks. This early prototype helped set expectations on how the fight would feel in the end. We also discovered one big bonus to fighting a smaller character like Baldur: he was more fun to beat up. Hitting Baldur and sending him flying 50 feet was way more satisfying than hitting a giant monster’s hand. We played to this strength by making Baldur support almost all of our reaction states, such as being launched into the air or knocked back. Around this time, our concept artist Stephen Oakley did some pre-visualization artwork of potential combat sequences for the fight, inspired by the early animations Fabian did. These helped spark even more ideas. By now, we had a large bucket of cool things we wanted to try out for the fight. I created a design document next, planning out the key beats of the fight… not as exciting as Fabian’s animations or Stephen’s pretty sketches, so I won’t post it. But, I did some work too! I promise. Once we had a rough plan in place for the entire fight, we began implementing a rough skeleton for each phase, starting with the introduction when Baldur first appears at your door. As you can see above, the animation and camera went through a lot of changes, but the basic idea of “punch Kratos over the roof” stayed the same. We needed the intro to move you from the front of the house to the back. The skeleton served its purpose to communicate to the team exactly what was supposed to happen throughout the fight. This intro was later handed off to the cinematic team who did an excellent job re-animating it to be more…well, cinematic. Following the intro, the fight was broken down into three core phases. Phase 1 is the introduction, which takes place in Kratos’ backyard. During this phase, Baldur does not attack much. Since this is the first boss fight in the game, it’s important to have a phase like this to ease the player in. This gives them a chance to use Baldur as a training dummy and enjoy the spectacle of knocking him through trees and rocks (which we already established was pretty fun from our early prototype work). Story-wise, Baldur wants Kratos to attack him. He is purposely taking the hits in the hopes that Kratos can make him feel pain. Sometimes we’re lucky and the goals of both gameplay and story work together perfectly. The transition between phases gave us a chance to showcase even more godly feats. These required a lot of iteration to get right, due to the continuous single shot camera we were going for. You’d be surprised how hard it is to get two characters into the right spot during gameplay without simply moving them in a camera cut. The reason Baldur spins Kratos and throws him so high here is to mask how much we’re sliding the characters around to get in position to land on the roof. This was a recurring theme in how we designed many of our transitionary animations. Most of them have quick turns or heavy camera shaking impacts to hide the extra motion. Smoke and mirrors. You’ll also see here that we used some of Stephen’s earlier pre-visualization artwork as reference for this tree ram sequence. This fight, like many other parts of our game, is cobbled together with ideas from people all over the studio. As a designer, my job isn’t just to come up with ideas, it’s also to filter the incredible amount of creativity coming out of every department and cherry pick the ones that will fit best. The transition animations give us a change of scenery by moving the player to a new location. In a longer fight such as this, it’s important to keep everything escalating, including the environment. Another more subtle reason for moving the characters is that it refreshes all the breakable trees and rocks that were probably already destroyed in the first arena. This gives the player another new playground to destroy. This is where phase 2 takes place. The early part of the phase introduces Spartan Rage, so we keep the player in rage mode longer than normal to allow them to learn the mechanics. Baldur starts being a little more aggressive in this phase, so the player has to start paying more attention to Kratos’ defensive options once the rage mode runs out. The transition into the last phase showcases the work of our amazing breakables team. Fun fact: We originally planned to have Baldur throw a mountain at Kratos, who punches it in half. We eventually had to change it to be a bit more reasonable since Kratos is supposed to be a little rusty in this fight. If you see Kratos punching mountains in the future, however, you’ll know it was a long time coming. We had also originally planned on having Baldur attack you during this section where you’re climbing up the chasm. He would be kicking down rocks or causing avalanches, forcing you to dodge sideways to jump between ledges. This ended up being cut due to scope. However, in retrospect, it was good that we didn’t have time to include this. The whole boss fight is so fast paced that it was nice to have a few more short quiet sections like this to break up the action. Phase 3 is when Baldur finally starts unleashing all of his attacks. As the first boss fight in the game, we didn’t want Baldur to be too difficult. It was more important that he give the illusion of intensity, rather than actually being a huge threat (If you’re interested in a challenge, try out some of our late game boss fights against the Valkyrie, which I also designed. Sorry in advance!). Baldur’s attacks are instead designed to teach and encourage different defensive mechanics: Ground shockwave – Unblockable shockwave that moves straight. Sideways dodge. Punch combos – Quick punches that can be dodged with good timing, but is most easily just blocked. Block or parry. Leap into air and stomp – Unblockable in a large blast radius. Roll dodge. Zig zag kick – Breaks guard. Parry or dodge with good timing In addition to Baldur’s attacks, he needed a way to defend himself if the player was too aggressive. Since Baldur reacts to all of your attacks, he is more vulnerable to being locked in an infinite combo than most bosses. We did a lot of work to make sure he always has ways to slip out and get some of his own attacks in. Sometimes he will take an axe-hit and then counter-attack. Other times he may use the momentum of your hit to dash back and gain some space. His defensive abilities all exist to reset the playfield and force the player to engage with his offense. Baldur was also originally supposed to be able to grab your axe and use it against you. Imagine you throw your axe at him, he takes the hit, pulls it out of his body and throws it back at you. What a jerk! This proved a bit difficult to pull off… plus we didn’t want to discourage you from throwing your axe so early in the game, so in the end this feature was… axed. The development of just one boss fight involves pretty much every department. From environmental artists creating the arena, to audio designers making each punch sound chunky, to producers making sure we’re not just browsing cat videos all day. I was only able to share a small snippet here, but the end product was a culmination of everyone’s efforts. Thank you for taking the time to read all of this. I hope you enjoyed this short look behind the curtain. And I also hope you enjoy fighting Baldur! He may not be the size of a mountain, or have the ability to grow giant crab legs, but hey…he has one sick mullet. The post Santa Monica Studio details the epic creation of God of War’s unforgettable Stranger fight appeared first on PlayStation.Blog.Europe. View the full article
  21. Hello! Today I’d like to take you behind the scenes to talk a little bit about the development of one of our showcase boss fights in the new God of War. A warning to those who haven’t played the game yet: there will be SPOILERS for a certain boss fight to follow. If you’d prefer to experience it on your own first, kindly look away (and go buy our game)! Otherwise, scroll down to begin the journey. The God of War series has always had some spectacular opening boss fights: The Hydra, The Colossus of Rhodes, Poseidon and his water pony, among others. During these fights, the camera was usually zoomed out very far to show a sense of scale. This was because these fights all had one big thing in common: Kratos was fighting a massive foe. Get it? I said “big thing” because they’re massive. More to come, folks! We knew we needed to do something just as epic in the new God of War, so when it was decided that the opening boss fight of the game was going to be against a smaller humanoid that was only about as tall as Kratos’ shoulder, we knew we were in for a big challenge. This is the (greatly condensed) story of how we created the boss fight with “The Stranger,” aka Baldur. So, how do we make fighting a guy this small feel as big as fighting the giant bosses of previous God of War games? We do the opposite of what we always did: zoom the camera in closer! Not that close! That’s better. The close camera would help to sell the impact of each punch. These were two gods trading blows, so each hit needed to resonate with incredible force. Much of our early development time was spent on the “feel” of the fight. We wanted the player to feel like a god fighting a god, with the environment around you paying the price. We began with our animator, Fabian Johnston, doing some exploratory animations. These helped set the tone of the entire fight. It was not long before we had them running in the game, with a whole bunch of breakable objects sprinkled about. This first prototype focused on answering a few questions: How much can we push the godly reactions on both Kratos and Baldur before it starts feeling like too much? How far can we go with environmental destruction? How dense can we make the breakable trees and rocks before they start interfering with gameplay? Do these add enough to the feel of the fight to be worth pursuing? What size does the arena need to be to accommodate all of our other requirements? As you can see, things were pretty rough at this early stage. However, it was already fun to control Kratos versus Baldur and to experience all the over-the-top reactions while playing. It was especially fun trying to angle the camera to knock Baldur through trees and rocks. This early prototype helped set expectations on how the fight would feel in the end. We also discovered one big bonus to fighting a smaller character like Baldur: he was more fun to beat up. Hitting Baldur and sending him flying 50 feet was way more satisfying than hitting a giant monster’s hand. We played to this strength by making Baldur support almost all of our reaction states, such as being launched into the air or knocked back. Around this time, our concept artist Stephen Oakley did some pre-visualization artwork of potential combat sequences for the fight, inspired by the early animations Fabian did. These helped spark even more ideas. By now, we had a large bucket of cool things we wanted to try out for the fight. I created a design document next, planning out the key beats of the fight… not as exciting as Fabian’s animations or Stephen’s pretty sketches, so I won’t post it. But, I did some work too! I promise. Once we had a rough plan in place for the entire fight, we began implementing a rough skeleton for each phase, starting with the introduction when Baldur first appears at your door. As you can see above, the animation and camera went through a lot of changes, but the basic idea of “punch Kratos over the roof” stayed the same. We needed the intro to move you from the front of the house to the back. The skeleton served its purpose to communicate to the team exactly what was supposed to happen throughout the fight. This intro was later handed off to the cinematic team who did an excellent job re-animating it to be more… well, cinematic. Following the intro, the fight was broken down into three core phases. Phase 1 is the introduction, which takes place in Kratos’ backyard. During this phase, Baldur does not attack much. Since this is the first boss fight in the game, it’s important to have a phase like this to ease the player in. This gives them a chance to use Baldur as a training dummy and enjoy the spectacle of knocking him through trees and rocks (which we already established was pretty fun from our early prototype work). Story-wise, Baldur wants Kratos to attack him. He is purposely taking the hits in the hopes that Kratos can make him feel pain. Sometimes we’re lucky and the goals of both gameplay and story work together perfectly. The transition between phases gave us a chance to showcase even more godly feats. These required a lot of iteration to get right, due to the continuous single shot camera we were going for. You’d be surprised how hard it is to get two characters into the right spot during gameplay without simply moving them in a camera cut. The reason Baldur spins Kratos and throws him so high here is to mask how much we’re sliding the characters around to get in position to land on the roof. This was a recurring theme in how we designed many of our transitionary animations. Most of them have quick turns or heavy camera shaking impacts to hide the extra motion. Smoke and mirrors. You’ll also see here that we used some of Stephen’s earlier pre-visualization artwork as reference for this tree ram sequence. This fight, like many other parts of our game, is cobbled together with ideas from people all over the studio. As a designer, my job isn’t just to come up with ideas, it’s also to filter the incredible amount of creativity coming out of every department and cherry pick the ones that will fit best. The transition animations give us a change of scenery by moving the player to a new location. In a longer fight such as this, it’s important to keep everything escalating, including the environment. Another more subtle reason for moving the characters is that it refreshes all the breakable trees and rocks that were probably already destroyed in the first arena. This gives the player another new playground to destroy. This is where phase 2 takes place. The early part of the phase introduces Spartan Rage, so we keep the player in rage mode longer than normal to allow them to learn the mechanics. Baldur starts being a little more aggressive in this phase, so the player has to start paying more attention to Kratos’ defensive options once the rage mode runs out. The transition into the last phase showcases the work of our amazing breakables team. Fun fact: We originally planned to have Baldur throw a mountain at Kratos, who punches it in half. We eventually had to change it to be a bit more reasonable since Kratos is supposed to be a little rusty in this fight. If you see Kratos punching mountains in the future, however, you’ll know it was a long time coming. We had also originally planned on having Baldur attack you during this section where you’re climbing up the chasm. He would be kicking down rocks or causing avalanches, forcing you to dodge sideways to jump between ledges. This ended up being cut due to scope. However, in retrospect, it was good that we didn’t have time to include this. The whole boss fight is so fast-paced that it was nice to have a few more short quiet sections like this to break up the action. Phase 3 is when Baldur finally starts unleashing all of his attacks. As the first boss fight in the game, we didn’t want Baldur to be too difficult. It was more important that he give the illusion of intensity, rather than actually being a huge threat. (If you’re interested in a challenge, try out some of our late-game boss fights against the Valkyrie, which I also designed. Sorry in advance!) Baldur’s attacks are instead designed to teach and encourage different defensive mechanics: Ground shockwave – Unblockable shockwave that moves straight. Sideways dodge. Punch combos – Quick punches that can be dodged with good timing, but is most easily just blocked. Block or parry. Leap into air and stomp – Unblockable in a large blast radius. Roll dodge. Zig zag kick – Breaks guard. Parry or dodge with good timing. In addition to Baldur’s attacks, he needed a way to defend himself if the player was too aggressive. Since Baldur reacts to all of your attacks, he is more vulnerable to being locked in an infinite combo than most bosses. We did a lot of work to make sure he always has ways to slip out and get some of his own attacks in. Sometimes he will take an axe-hit and then counter-attack. Other times he may use the momentum of your hit to dash back and gain some space. His defensive abilities all exist to reset the playfield and force the player to engage with his offense. Baldur was also originally supposed to be able to grab your axe and use it against you. Imagine you throw your axe at him, he takes the hit, pulls it out of his body and throws it back at you. What a jerk! This proved a bit difficult to pull off… plus we didn’t want to discourage you from throwing your axe so early in the game, so in the end this feature was… axed. The development of just one boss fight involves pretty much every department. From environmental artists creating the arena, to audio designers making each punch sound chunky, to producers making sure we’re not just browsing cat videos all day. I was only able to share a small snippet here, but the end product was a culmination of everyone’s efforts. Thank you for taking the time to read all of this. I hope you enjoyed this short look behind the curtain. And I also hope you enjoy fighting Baldur! He may not be the size of a mountain, or have the ability to grow giant crab legs, but hey… he has one sick mullet. View the full article
  22. pete_95973

    Crew Challenge 162 - Two Times Bounty Challenge

    That’s the “challenge” aspect
  23. Hello there! Fishing Sim World is the most authentic fishing simulator we’ve ever made, and we’re so excited for it to come to PS4 on 18th September. You’ll feel the thrill of hauling in trophy-sized bass, carp, monster pike and more across some of the world’s top fishing locations. Fishing Sim World combines realistic physics systems, complex fish AI, and real-world detail for a genuine fishing adventure that’s great solo or with friends. It’s the kind of highly detailed fishing adventure you’ve been waiting for. A truly in-depth fishing sim experience You’ll have 18 different species of fish to hunt at launch, including pike, carp, and largemouth and smallmouth bass. Each species has its own unique AI and behavioral systems – from water temperature and bait choice to the dynamic weather around the environment, you’ll have to learn how they react and adapt your plan accordingly. Choose a strategy right for the conditions in front of you and you’ll land your prey. You’ll travel to seven stunning fishing destinations across Europe and North America in Fishing Sim World. Soak in the rays of sun-drenched Lake Johnson in Florida and explore picturesque Lake Boulder in upstate New York, both sprawling over 2000 acres in size. Go hunting in France’s famous Gigantica Main Lake, replicated in magnificent detail right down to the real-world hulking boss fish known as ‘Fudgies’. Or find your mark in a challenging stretch of the UK’s Grand Union Canal, home to powerful monster predator fish. Fishing Sim World is fully licensed with some of the world’s biggest brands in fishing – choose from thousands of different rig, lure, rod and reel combinations to even the odds against your prey. Grab spinning and bait caster rods and reels from Duckett Fishing and Fitzgerald Fishing. Equip them with line from Fitzgerald or Sunline with lures and baits from Nichols Lures, Missile Baits and Bill Lewis Outdoors (Rat-L-Trap). You’ll have equipment from top names like Korda, RidgeMonkey, Mainline Baits and Delkim to make your hunt a success. Find the challenge that’s right for you Whether you’re a newcomer to the sport or a fishing pro looking for a true test of your real-life angling talents, Fishing Sim World has fun and exciting challenges for you. You’ll rise from beginner to pro, improving your skills, upgrading your gear and becoming a master of the water. Cast your line from the shoreline, or get out there with one of three high-powered boats (two officially licensed from Bass Cat Boats), using sonar to find the perfect fishing spot. And it doesn’t stop there. Fishing Sim World honors the competitive spirit at the heart of the sport with heart-pounding multiplayer action. Take on friends in four-player multiplayer, and compete in live tournaments with rivals from around the world in The Dovetail Fishing League, fighting for the title of Fishing Sim World Angler of the Month. The DFL hosts multiple events across four different series, each of which has its own season leaderboards, adding up altogether to determine your position in the Global Season leaderboard. Whether you’re hunting monster pike in England, trophy bass in the States, or enjoying the peaceful quiet of a French lake, waiting for the catch of a lifetime, you’ll find something made for you in Fishing Sim World. Fishing Sim World arrives on 18 September, but you can grab your very own exclusive* in-game FSW boat, shirt, and set of rods and reels when you pre-order now. We can’t wait to see you on the open waters! The post Angle for global multiplayer glory in Fishing Sim World, out 18th September on PS4 appeared first on PlayStation.Blog.Europe. View the full article
  24. It’s the ’90s. My friend invited me to his house after school to play Spyro the Dragon on the PlayStation. That day, my relationship with the PlayStation began, as its low-poly graphics and hypnotic music glued me to the screen. Little did I know that years later, I’d be on the other side of the screen with my own game appearing on the PS4. In my surreal, retro-handheld-styled action-adventure game Anodyne, portals float through a void, glowing with the landscapes of humid marshlands, Picasso-esque green fields, and cityscapes. These places exist in the mind of the protagonist, Young, and you can visit them when Anodyne comes to the PS4 on 19th September! So how did Anodyne, a small project, get to the PS4? Just an idea On a March afternoon in 2012, I sat on the steps of my college’s library, sketching game ideas. At the time I was focused on computer science studies and internship hunting. I had made some money with small games, but I had no expectation that one day, one of those games would be on the PS4. It’s easy to view the past with nostalgia and overlook Anodyne’s long journey. That summer, I was in Manhattan, designing levels during free time from my internship. In the haze of muggy commutes and Javascript bugfixing, I understood that it was important to finish Anodyne. And that this might be my last chance to attempt something like it before graduating. Now, working alone presents challenges. While I could compose songs and design levels, I knew that trying to sell a game looking like this might present a problem. So, I searched for an artist. Racing against time Eventually, a friend introduced me to Marina Kittaka. I described Anodyne’s goals to her: It was to be surreal, like early, dream-like indie RPG games. The world would be both natural and urban, patched together with dream logic and themes of insecurity, escapism and relationships. The mechanics were influenced by classic handheld action-adventure games, but more minimal. The player only gets a broom as a weapon, as I wanted to hone in on these games’ simple and fun mechanics. Thanks to a demo and past small games, I showed I knew how to execute on my ideas. Marina and I quickly hit it off as a team after she sent me some of her pixel art work. With our graduations on the horizon, we had to work fast. In addition to art, Marina figured that without a story or characters, the game’s world might fall flat. She quickly began to write narrative elements, giving Anodyne a colorful cast of characters. Progress went fast, slowing a bit when we returned to school in the fall. It’s quite stressful to remember, but somehow, swamped by coursework and the youthful drama of college, we managed to finish Anodyne by January 2013. Phew. Porting to the PS4 Years later when showing Anodyne in Tokyo, I was introduced to Nnooo, who helped me port Anodyne to PS4. Due to Anodyne’s engine, it was an immense technical challenge to get it working on PS4, but a few years later, Nnooo’s amazing porting team engineered a brilliant solution! I feel very lucky to have met Nnooo. So, I hope you’ll get lost in, and perhaps be influenced by, Anodyne’s dream world when it hits PS4 for $9.99 on 8/18 (America) or 8/19 (Europe). Do let me know if you enjoy the game! Farewell. The post Surreal retro action-RPG Anodyne is coming to PS4 next month appeared first on PlayStation.Blog.Europe. View the full article
  25. zztop911

    Crew Challenge 162 - Two Times Bounty Challenge

    Just WAAAAAY too many restrictions for my taste. The people you're fighting will use everything available in the game.
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