God of War

[Gość suteq]

Nie podobają mi się te informacje. God of War miał swój styl i owszem można było mówić, że się przejadł lecz moim zdaniem przez to, że motyw mitologii greckiej był wyeksploatowany do granic możliwości. Stara formuła w mitologii nordyckiej z małymi zmianami/powiewem świeżości, bez robienia z gry kolejnego TLOU, by się znacznie lepiej sprawdziła. Niemniej zagram ale to może być pierwszy God of War, którego nie skończę. 

 

[Moldar 2 279]

Ja bym nie dał rady w oryginalnym stylu, za dużo tego i dobrze, że próbują inaczej do tego podejść.

Nie zmienia to jednak dalej tego, że hajpu nie mam. Ale chyba RDR wyjdzie w połowie roku, więc jak gow faktycznie marzec, to pewnie sprawdzę.

[creatinfreak 3 861]

Żeby to nie był Kratos to przez te wszystkie informacje spadł by mi hype. A, że kocham tą serie to i tak będę grał jak głupi, najwyżej się zawiode, ale spodziewam się raczej dobrej zabawy.

[Wredny 9 725]

22 godziny temu, XM. napisał:

Chodzi po prostu o to ze chcą moc wrzucać lysego do każdej epoki, co cześć do innej jak assasyn a ludzie żeby wiedzieli że to gow i lykali każda kolejna część za gruby pieniążek jak tasiemca od ubi. 

 

I w sumie fajnie. Bo tasiemcem ta seria i tak już jest, do tego pod pewnymi względami nawet gorszym niż CoD czy Assassin, bo realia i czasy wiecznie te same, a przez to te gry są do siebie bliźniaczo podobne. Nie mam nic przeciwko rzuceniu łysego na egipskie bóstwa w późniejszym terminie (bo wiem, że w mitologii nordyckiej zabawimy pewnie w ramach trylogii).

[Papaj 465]

Czyli z informacji wynika, że konstrukcją leveli gra będzie przypominała The Evil Within 2. Średniej wielkości mapy do odkrycia i jakieś tam zadania poboczne. Pewnie dlatego jest ten motyw z używaniem łodzi. Przemieszczanie sie po średniej wielkości wyspach za jej pomocą i realizowanie tam zadań. Ciekawe czy to pływanie łódką będzie interaktywne i z udziałem gracza czy statyczne, żeby zwyczajnie ukryć w nich ładowania etapów w trakcie przemieszczaniem się?  

Edytowane 6 stycznia 2018 przez Papaj

[ASX 14 717]

jeżeli potwierdzą się ostatnie informację, mówiące o tym że pływanie łodzią zajmuję sporą część gry, to obstawiam interaktywne pływanie. Nie ma chyba gry w której 20% zajmują ekrany ładowania

[XM. 11 054]

Z tym pływanie łodzią to był tylko troll. Sam Cory śmieje się i nazywa Boat of War.

[YETI 11 046]

Premiera prawdopodobnie 22.03
http://www.pssite.com/news/60663/god-of-war-moze-pojawic-sie-22-marca.html

[Gość aphromo]

Swietna data premiery, tylko Yakuza 6 jakas konkurencja,

[Figuś 21 266]

Jak ta data okaże się prawdą to sorry Kratos, ale Kiryu ma pierwszeństwo

[Wredny 9 725]

Łysy zawsze na propsie - niszowe podróby Shenmue mnie nie obchodzą 

[Kafaresko 37]

jeżeli ktoś jeszcze nie czytał artykułu z GameInformera, to zapraszam

Sony’s Santa Monica Studio is reimagining God of War and its hero in a way that sheds artifacts of the past,

allowing room for the series to evolve in terms of narrative, combat, and exploration. These changes may not result in the formula fans expect, but after playing part of the game for ourselves, they clearly signal the beginning of a new chapter for Kratos and God of War in more ways than one.

 

FROM THE ASHES

When it debuted, God of War was edgy. It had an unapologetic antihero, brutal action, and cinematic quick-time events. In the mid2000s, that combination was a refreshing step away from convention, and demonstrated gaming's potential to tackle mature content in entertaining ways. However, as subsequent entries dug deeper into those elements, the basic tone and style remained unchanged. Today, almost 13 years after it was introduced, the original game's core template feels like part of a different era. The last game in the series, 2013's God of War: Ascension, did not attain the blockbuster success of its predecessors. It mined Kratos' past for a story that did not feel significant, and held few gameplay surprises. While many studios would love their games to reach a score of 80 on review aggregators, Ascension landing in that territory marked a pre(nene)itous drop for the franchise that caused some people to question God of War's future. They thought Kratos' story was over. "What became apparent to me was that we were watching this franchise wane a bit," says Shannon Studstill, head of Santa Monica Studio. "It was getting old. The storyline with Kratos being the hardcore badass - I think people were starting to say, "What's next?' I felt like, in order to reinvent, we really needed to turn a lot of things around."

To accomplish that goal, Studstill brought Cory Barlog back into the fold at Santa Monica Studio as creative director. Barlog directed God of War II, and was part of the original God of War team since its early days. Reaching out to someone with such a strong tie to the series' past might seem strange considering the goal was to reimagine God of War's identity, but Studstill says that connection was essential, "I think you need to know the lineage,” she says, “It's a very deep storyline, and bringing in someone that understands that history is the respect the franchise deserves.

“You gotta know the rules to break the rules,” Barlog jokes. When it comes to breaking rules, he and the team examined every facet of the experience and held nothing sacred. This process resulted in surprising cuts, like jumping, swimming, instant-death platforming challenges, and the beloved Blades of Chaos, however, despite all of these changes, the game still retains the franchise's essence - it has just evolved.

“The core concept that kept pushing in the early portion of this was this expansion on the original idea... The idea of going on a fantastic adventure," Barlog says, "But a fantastic, meaningful adventure. An adventure that isn't just born out of anger and vengeance, but an adventure born out of this really personal experience that is filled with incredible peaks and valleys of levity and sincerity." Of course, since it's God of War, all of those things also need to be fused with fun and engaging combat.

In trailers and demonstrations since the game's 2016 reveal, we've seen several of the ways that God of War hits those new notes. Kratos has left Greece behind, and is now in the realm of Norse mythology. He has a son, Atreus, but struggles in finding a way to relate to the child. The camera is zoomed in close, giving the action a personal touch. Those are the broad strokes, but during our time at Santa Monica Studio, we dug deeper by playing the game, getting a clear sense of the new vision for God of War’s combat.

 

ALL ABOUT OPTIONS

Kratos and Atreus encounter a group of draugr - undead warriors - in a rocky clearing. Kratos enters the fray by throwing his axe (named Leviathan) at one of the smaller foes, freezing it in place. He then sprints toward a heavy draugr to deliver a series of melee attacks using a shield and his fists, all while Atreus peppers the battlefield with arrows from afar. The heavy is undeterred by the onslaught, so Kratos commands Atreus to focus his fire on it. Their coordinated attacks stun the creature, allowing Kratos to deliver a brutal coup de grâce. As the remaining enemies converge, leviathan magically flies back into Kratos hand, tripping one of the draugr on its return. Holding the axe aloft, an icy area-of-effect blast staggers the encroaching undead, giving Kratos a moment to roll away. He then advances on the group from a new angle, swinging Leviathan in a series of light and heavy attacks that fling the draugr in the air and knock them against walls until the threat is vanquished.

Even a basic combat scenario like this is clearly different from the God of War fans know, and it has a surprising number of variables. In the same situation, you could lean more heavily on Atreus' support. You could throw the axe more. You could have an ability other than the ice blast equipped. You could get in a tight spot and decide to trigger your Spartan rage. Whichever way the encounter plays out, Santa Monica Studio has ensured you have plenty of choices to make beyond how hard you mash the attack buttons.

“Kratos of old had always been a power fantasy," says lead gameplay designer Jason McDonald. "He had these crazy chains that would just wipe out tons of enemies at once, launching them all in the air, and you'd feel really strong. With this new God of War, in trying to ground Kratos a little bit more and change the mythology, change his weapon, and change everything, was finding a way to modernize the idea that he's still a power fantasy. He's still really strong - but he does it now with a more tactical or strategic standpoint."

In other words, Kratos is still master of the battlefield, but his ideal path to victory is more deliberate than it has been in the past. Focusing on the right enemies, deploying different kinds of crowd control, and being mindful of your surroundings are more important than ever. “These kinds of strategic choices are something we've always been missing in God of War," Barlog says, "You kind of just went: Big guy there, small guy there, and you just attacked. The chain blades leaned into this concept of a flurry of chaos all around you. Now we have more decision-making."

Gamers hear the term "player choice" so often that it starts to lose significance, but during our hands-on demo, we saw how the team is making it meaningful in God of War. We fought revenants that dodged all of Kratos melee attacks, ice-infused humanoids resistant to Leviathan's strikes, and an enormous ogre that seemed impossible to stagger. When tricky foes like these are combined in a single encounter, you have to decide which ones you prioritize and how you take them down - a process possible by the varied arsenal at your disposal.

 

CHANGING BLADES

For longtime fans of God of War, the most surprising shift in the new game is Kratos' new weapons. His Blades of Chaos were iconic and central to the feel and fluidity of combat in previous titles. Now, Kratos wields an axe and shield instead - ancient weapons forged by dwarven smiths.

The telescoping shield (which has a name the team isn't sharing yet) is an effective piece of utility equipment. It delivers stunning melee blows (more on that later), and expands when players hold L1 to block. The area we played in our demo was only about one hour from the beginning, but in that time, the shield felt more like a cosmetic accent than a fully featured weapon.

Leviathan, on the other hand, is the centerpiece of your combat strategy. The axe has light and heavy attacks, which are your standard methods of inflicting damage. Kratos generally keeps his feet planted on the ground as he fights; the stylish aerial maneuvers of past games are gone, but he can still launch enemies into the air with a heavy attack. This robs them of their defense and makes them more vulnerable, even if Kratos doesn't take to the sky with them.

Kratos can throw the axe at any time and summon it back with the press of the triangle button. Tossing aside your primary weapon may seem ridiculous, but we did it frequently to take advantage of its range and ability to freeze certain enemies on impact.

"A lot of our big guys, they have precision targets on their bodies," McDonald says, "If you throw the axe at an ogre's head, certain times that's a good thing, because it'll get him stunned. And throwing at enemies' heads in particular is usually a good thing - even a normal draugr, a small little guy, because it will spin them around and expose their back."

You won't always be throwing the axe with the aim of inflicting direct damage. In our encounter against an ogre, the battlefield was littered with fiery containers; we won the fight by luring the beast close to the containers, then rolling away and tossing Leviathan at the objects to trigger an explosion.

As we explored a mountainous area, we ran across a chest inscribed with three runes. To open it, we searched the environment to find hidden stones with corresponding markings. They were all out of reach, but by throwing our axe to shatter the stones, we unlocked the chest to claim the crafting materials inside.

Throwing Leviathan is also a great way to keep your distance from dangerous enemies. While the shield works well for parrying and blocking regular attacks, some foes have unblockable moves (currently represented by a red flash before they attack). If those enemies also happen to be difficult to stagger, close-range combat becomes a tricky affair; interrupting them is difficult, and their attacks are harder to avoid. The first time we encountered alone heavy draugr in a cave, it killed us. The second time, we threw the axe then instantly recalled it multiple times - a tactic that took the creature down before it even got within striking distance.

"Everytime we put this in someone's hands, the first thing you see everybody doing is just throwing the axe constantly," McDonald says. "And after hours and hours of doing that, no one seems tired of it. So, I definitely feel like it has reached that polish level where it feels like this is Kratos’ new Weapon. It has a different feel than the blades used to have, but it has a feel of its own."

Based on our demo, we can support that statement. You can practically feel the heft as you send Leviathan spinning toward foes, and the impact as it rockets back into Kratos' hand is remarkably satisfying. Using it to chop through bad guys is rewarding, and it functions as a powerful central concept around which your other combat options orbit.

 

A GOD’S TOOLS

During what Santa Monica Studio calls the "Greek era" of God of War, players didn't have much control over Kratos' progression. You could choose the order in which you improved your abilities and weapons, but at the end of those games, each player's Kratos was essentially the same. Now, in the Norse era, you have more freedom to experiment and develop an approach that works for you.

"As you're exploring the game and finding all of these things, you're really able to reconfigure and say, 'I really want this and this, and this is going to be effective for me," Barlog says. "Your style of play allows you to outfit Kratos however you want to cater to that. And we are using a good portion of the game to continue allowing the player to open up and change that style of play."

One of the major ways you can customize your moveset is through runes. These powerful items can be slotted into Leviathan - one associated with your light attack, and one with heavy. Each one enables the use of a unique special move, like the previously mentioned ice blast. However, they can have other properties and ranges, including conical area-of-effect and direct fire. Elements like the range, duration, and cooldown vary depending on whether the runic attack is light or heavy.

Because you can only have two runes slotted at a time, you need to make choices about which ones are best suited to your play style. You can swap them around and try new combinations, but you also need to make decisions about which ones to improve. "Each one of them begins with a base set of stats, but as you go through the game, you'll be able to get stuff to upgrade the multiple levels," Barlog says. "You'll have tons of different attacks."

Speaking of different attacks, Spartan rage returns in this installment. As before, it is tied to a meter that fills gradually as you fight, though it functions in a new way once you activate it. Kratos' moveset changes, and he exclusively dishes out savage and powerful bare-handed attacks. While Spartan rage is not as consistently available as Kratos' other moves, it still provides an interesting option in combat; it is great for getting you out of tight spots, and the earth-shaking power of Kratos' blows makes it fun to control. "In this mode, he starts to resemble more of what he used to be in terms of how far he can knock guys away, how strong he really is," McDonald says. "We really wanted him to put the shield away and just go raw fists and show that super-human strength he's still capable of."

Players have yet another avenue to make choices about Kratos' appearance and capabilities: his amor. New pieces are created (or upgraded) through a crafting system, then equipped in a handful of available slots. Unfortunately, the team was tight-lipped about the specific mechanics of crafting during our visit. However, crafting resources are clearly being used as an incentive for exploration; during our playtime, most of the chests we found contained hacksilver, which is a key component in almost every re(nene)e.

Most of these elements (among others) can be improved by spending XP, which you also use to buy new skills. While the details of that skill system are still under wraps, the fragments we saw point to players having vast possibilities for creative combat at their fingertips.

 

RAISING ATREUS

Even with all of Kratos' special abilities and unique equipment, the most meaningful addition to his repertoire is Atreus. Because Kratos is a god, the assistance of a child might not seem significant, but Atreus creates several new layers that deepen the experience.

In terms of combat, think of Atreus as an extension of Kratos rather than an A.l. companion. You don't need to babysit him, and he doesn't get in your way. "From the beginning, I wanted to make sure we weren't making an escort-mission game - one where you're constantly feeling like the A.I. messed you up." Barlog says.

During development, the team experimented with several approaches to making Atreus an empowering presence; the goal was to have him enhance Kratos' capabilities without becoming a liability or stealing all of the kills. The solution was to give Atreus two levels of parti(pipi)tion in battle: actions he takes automatically, and those that you command him to perform with a press of the square button (which is used solely for this purpose).

"Dealing with all of these moving parts at the same time was challenging," says gameplay engineering lead Jeet Shroff. "As we went through it, dedicating a button to Atreus was a key component, because now we could control a lot of what was autonomous and what wasn't."

If you are wading into a horde of enemies, Atreus will stand back and fire arrows without any input from you. However, if you want his assistance with a specific enemy, you only need to tap the button to focus his fire. Using Atreus' ranged attacks may sound like an easy way to cruise through encounters, but there's a catch: His arrows don't have much effect on enemies' health. Instead, he dishes out higher amounts of stun damage, which is another new mechanic to God of War.

Enemies have two different meters displayed above them: One is health, and the other is stun. Using Leviathan is the surest way to do real damage, but Kratos' fists and Atreus' arrows fill up the stun meter faster. For weak enemies, chopping through them is probably more efficient than stunning. However, using the stun mechanic is critical for taking out stronger foes, as well as managing encounters with a variety of enemy types.

Once a foe's stun meter is full, a grab prompt appears. In some cases, a grab might just mean Kratos rips the creature apart. However, it's more than just a quick kill option; other enemies may present tactical advantages after they've been stunned. "When you grab an enemy, you can weaponize him to hit other enemies in the field," McDonald says. "Depending on the enemy - we have different grabs for every enemy - you might want to stun him, and that stun might allow you to grab him and throw him into other enemies. Or slam him into the ground and lift them all into the air – things that let you set up the crowd control you need to survive."

This means frequent and deliberate use of Atreus is incredibly valuable in battle. Setting up stuns helps clear the battlefield and manage the flow of encounters. For example, if you have two similar enemies in front of you, you might focus on one while commanding Atreus to focus on the other not only does this keep both enemies from ganging up on you, but by the time you're finished with your target, Atreus' opponent could be stunned and ready for a grab. On the other hand, if Atreus attracts the attention of too many enemies, the direct consequence is he gets knocked out for the remainder of the battle, leaving you without his assistance.

Atreus' suite of abilities changes and improves as you progress. He acquires new skills, armor, and special moves you can equip. "We still want to expand Kratos' toolbox," Barlog says. "I think Atreus is an expansion on that, the ability to outfit him and change his special moves as well allows you to mix and match everything up." While the team wasn't going into much detail beyond that, it seems like upgrading Atreus is one of the deepest and most significant ways to increase Kratos' power.

With all of the possibilities Atreus adds, the full view of combat starts coming into focus, as well as the variety of choices players can make. When choosing your targets, you want to consider their difficulty, as well as their health and stun levels. You can thin the opposition by ordering Atreus to set up grabs while you handle more imposing foes. Some enemies might be resistant to certain attacks, so you need to weigh the best way to split your efforts. Plus, different players' approach to any situation might be altered by the runes they have slotted or the gear they have equipped. Whatever methods you prefer, you have the freedom to balance all of these considerations to develop a unique play style.

The options may seem overwhelming, but the studio is committed to making that depth understandable for all types of players. "We still retain the pick-up-and-play accessibility that God of War was always well-known for," Studstill says. The combat may be harder to master than it was before, but you don't need to optimize your efficiency to jump in and have a good time.

 

VIEWING THE ACTION

When Kratos is in battle, players will undoubtedly notice his new array of abilities. However, another element that has a profound effect on God of War's action is the new camera. For the first time in the series, players have full control over their view of Kratos and his surroundings, but the perspective stays close to Kratos to make the adventure feel more grounded and intimate.

While new camera angles may not sound like the flashiest feature, the subtle impact (and technical prowess required to pull it off) is no small matter. "For us, it was a better choice because of the feeling it creates," Shroff says. "The way you are able to experience this world and everything in it: the combat, the narrative, the cinematics. Fighting a massive creature with this camera, that close, seeing each attack - it is a very different experience from being zoomed-out far away. Those are things we leaned into. “We got very unique gameplay coming out of this choice."

During our hands-on time, the new perspective imbued the combat with a more personal touch. The weight of the weapons, the thrill of a close dodge, and the imposing size of an enormous ogre are all conveyed in a powerful way. But God of War also uses another visual technique to get players invested in Kratos' journey: The camera doesn't cut.

Whether you're transitioning between areas, going from gameplay to cutscenes, or delivering a dramatic final blow, the entire game is treated as one continuous shot. The result is a sense that, like Kratos, players don't get respite or reprieve from the harsh world.

"We all watch movies, we all watch TV." says director of photography Dori Azari. "And we're used to a certain way of delivering a visual narrative. You look at this, and something happens. You look at that, and something happens. Then five hours pass, and something happens. It's all based on cuts. Our minds start to wrap around storytelling in terms of cuts. That's how we're educated."

The team says God of War is about 25 to 35 hours long. Over that span, players may stop consciously noticing the no-cut camera (if they even notice it in the first place), but the hope is its effects continue to shape the experience (even if they can't be clearly identified) by conveying intimacy, personality, and a sense of proximity to the drama.

"The idea of not cutting the camera away is one of those things that think cinematography nerds and hardcore game-design people will point out - and that will never stop pointing out - but most people likely won't comment on," Barlog says."But it will be one of those things that is felt."

 

NEW APPROACH TO NARRATIVE

What are the signature elements of God of War? In the mid-2000s, gamers probably wouldn't mention sophisticated storytelling; they'd talk about flashy action, screams of rage, and hidden orgies. Today, the answer is different. While combat still takes center stage, Santa Monica Studio wants to elevate the narrative while leaving the antiquated pieces behind. The fans who loved God of War when it first released are now older, and many of their tastes have changed with age. "I think we inherently knew the franchise needed to evolve in that emotional beat and be something meatier for the older generation of gamers," Studstill says.

Since the planning phases of God of War, the goal has been one of transformation - turning Kratos from a one-dimensional engine of destruction into a more nuanced and interesting character. "Audiences were much more ready for the flawed and real depiction of people," Barlog says. "I think they're getting bored of the Teflon concept."

Delving too deep on the subject of story would spoil the experience, but it's enough to say that the vision for Kratos is closely tied to his role as a father. In previous games, his family was more of a device to justify his fury. In this entry, his interactions with his son reveal much about the person he was, is, and wants to be.

"There's kind of an aspect of the early life of him and Atreus when Kratos is struggling to understand how to relate to him," Barlog says. "(Kratos) did not grow up in a way that helped him relate very well, and yet he was able to relate to his daughter fairly well. And that turned out very poorly. So I think after that incident, everything that's happened in the entirely of the Greek era of games shut him down as a human. His humanity basically became this brick wall."

Through the course of their journey, Kratos makes an earnest effort to break down that wall and be a father to his son. He tries to contain his anger, teach, reassure, and console - but he makes mistakes along the way, just like any parent. Barlog does not disguise the fact that many interactions and ideas surrounding Kratos and Atreus are drawn from his own relationship with his son. "I needed to make it a bit more personal," Barlog says. "Having worked with a bunch of people over the four or five years I was wandering the Earth (after God of War II), I had started to realize that so many common themes came up with all the great directors and writers I was meeting with. Every one of them was saying the same thing: "Find a personal way in."

Even if Kratos seems to have trouble dealing with fatherhood, gamers can rest assured that some of his struggles are grounded in reality. At the very least, everyone playing God of War had parental figures (or are possibly parents themselves), so the subject matter is easier to connect with and relate to than the concept of exacting revenge on Olympus. Kratos may be a god, but that doesn't mean he can’t be humanized.

 

THE FUTURE

With the God of War's release almost upon us (as of this writing, the team would not get more specific than "early 2018"), everyone at Santa Monica Studio seems focused on getting the new game into players' hands. However, amid all the talk of reinvention rests the implication of more God of War titles to come - the possibilities of new eras and pantheons in Kratos' future, "The Greek games were the Greek era of God of War," Barlog says. "Moving on, the next mythological belief system he interacts with became the Norse era of God of War. But we may end up going onto the Egyptian era and the Mayan era and so on and so forth."

Even so, don't start placing your bets on the next era quite yet. After all, Sony took some convincing to make even this game happen. "A lot of people throughout the organization wanted (God of War) to sleep and rest," Studstill says. Barlog adds: "Even the first pitches I gave, there was that, ‘You've really got to convince me that we should do another one."

In short, much rests on Santa Monica Studio's ability to present a new and compelling vision for God of War that will set the franchise on a new path. While this installment acknowledges the series' past, it also builds on new foundations that welcome a wide array of players - not just fans of previous entries. "To me, that was important, because I really think we needed to have a much bigger audience," Barlog says. "I want this to reach a lot of people; I want this to be on the level of the Uncharteds and the Assassin's Creeds. We want to grow this franchise big time."

While Kratos could eventually reach that point in his journey, the next few steps are critical. Based on our time with the game, a glance toward the horizon certainly seems justified.


 

THE STORY SO FAR

We know God of Wars story focuses on the journey of Kratos and Atreus, but how does it begin, and where are they going? As of this writing Santa Monica Studio has not revealed those details. The only hint we got during our playtime was a two-line exchange in which Atreus says, “I still don't understand why that man attacked you at our house.” Kratos responds: “I told you boy, I know nothing more of it.” Beyond that, fans will just have to speculate for the moment.

One thing we do know is the previous games structure isn't just being recycled with a new pantheon. “The Greek era of God of War games, starting out, were not necessarily about Kratos going around killing every god in the realm one by one,” says creative director Cory Barlog. “By the end, in God of War III, that's what we kind of ended up doing. And you can really only get away with that once. That's definitely not how I want to start a new journey, with Kratos killing a bunch of gods like a hit list."


 

OTHER WEAPONS?

In previous God of War games, Kratos usually adds to his arsenal with additional weapons, including swords, gauntlets, hammers, and spears. Sony Santa Monica is pointedly not saying anything about whether Kratos earns any new equipment along those lines - an evasion that implies the game still holds secrets in that area. Even so, the only thing lead gameplay designer Jason McDonald would say on the subject is: "The axe and shield are definitely the stars of the show."


 

SETTING SAIL

In trailers for God of War, we've Seen Kratos and Atreus traveling by boat. Though this feature was initially born out of necessity (since swimming was no longer part of exploration), the concept evolved into a unique way to bundle traversal and story.

"I started investigating this idea of a big Viking longboat, and then realized you could really continue the narrative throughout," says creative director Cory Barlog. "You can slow traversal down and you can change the pacing and interaction style and point of view. All while having these moments that you probably couldn't get in any other situations."

Boats are generally present whenever the player has cause to use them. Kratos and Atreus are not attached to one particular vessel; they find many different boats as they move from place to place.

[Figuś 21 266]

Cytat

Pakiet zawiera:

Grę God of War

9-calową figurkę Kratosa i Atreusa

Limitowany steelbook

2-calowe figurki braci Huldra

Ekskluzywną litografię

Mapę na płótnie

Kamienny pierścień Masona

Gadająca głowa Mimira – jako przywieszka do kluczy

2-calowe figurki konia i trolla

Dodatki cyfrowe (tarcza, zestaw zbroi, 2 cyfrowe komiksy, dynamiczny motyw).

Takie przyjemności zostały wycenione na 149,99 dolarów.

[Gość _Be_]

Ale brzydactwo

[Starh 3 174]

Figurka z Alloy była dużo lepsza imo

[Homer S 197]

Najładniejsze z tego wszystkiego to art na pudełku no ale widać skąd są inspiracje.

 

Tak jakoś mi lata ten god of war, niby wszystko to wygląda w porządku... no właśnie, wygląda tylko w porządku. Brak czegoś co by zaskoczyło albo w jakiś sposób zachęciło. To ja już wole poczekać i rezerwować hype na tlou, tego exa traktuje tak jak inne - z rezerwą.

 

chociaż na + jest brak skoku bo te na siłe wstawione elementy wspinaczkowe były rakiem

[milan 7 022]

Myślę że główną realną groźbą będzie jednak zwolnienie akcji i tego się tez obawiam. W poprzednich wlatywało się w miejscówke, i  w zasadzie ciągle się biegło, kamera zawsze fajnie ustawiona, wszystko widziałeś,  arena za areną. Tutaj czuć klimat bardziej łażenia i i ciagłego rozglądania się. 

Edytowane 17 stycznia 2018 przez milan

[Kafaresko 37]

2 godziny temu, Figuś napisał:

Kamienny pierścień Masona

 

1 minuta roboty a ile zmienia

https://translate.google.pl/#en/pl/stone mason

 

czyli na polski - pierścień kamieniarza i nie mieszajmy w to masonów

Edytowane 17 stycznia 2018 przez Kafaresko

[Figuś 21 266]

Do Gruszczyka się przypierdalać na PPE, nie do mnie

[Wredny 9 725]

Nie wiem, co Wy macie do tego, ale mi się bardzo podoba i chętnie bym sobie takie cacko postawił na półce.
Gdybym miał gaming room (a niestety nie mam) to bym pewnie zakupił, a tak - wszelkie bibeloty, figurki czy nawet steelbooki nie interesują mnie

[YETI 11 046]

[balon 5 380]

Trzeba brać day one. Pokazać, że warto robić AAA gierki single player bez obs ranego multi i jakiś season pasôw.

[Lukas_AT 1 209]

Nie chcial podac daty premiery... Juz mnie to troche drazni, bo ile mozna trzymac graczy w niepewnosci. Jak wyleca z czerwcem to sie wkur.wie, bo gracze sie juz napalili na marzec, a ze to juz za rogiem, to date powinni podac.

[Faka 4 047]

Szanuję za brak multi i sp. Biorę Day one.

[kermit 6 998]

no termin horizona bedzie idealny, oby sie potwierdził