Midway through God of War III, the buff and surly protagonist Kratos is scaling along the outside face of a building when he happens upon a man. He’s perched precariously next to a window, crying out for help. Saying nothing more than a grunt, Kratos bashes his head against the wall and pitches him off the ledge.

A remastered edition of God of War III comes out this week for the PlayStation 4, five years after its original release on the PS3. Except for a touch of extra polish, the new release is identical to the old one. There aren’t any new game modes or extra features that come along with it other than some visual touch-ups that add increased resolution and a smoother framerate. That’s not a bad thing, because God of War III was already a great game when it first came out. It still looks incredible—even better than before, though only by a very slight margin. And God of War’scombo-heavy combat is as weighty and satisfying as it ever was. But compared to wide-ranging, open-world games like The Witcher III and Batman: Arkham Knight that it now competes for attention with on my PlayStation 4, God of War III seems tiny in comparison. Claustrophobic, even.

That’s not a knock against God of War III. Because, really, the way it makes you feel trapped as a player is the true genius of this game. In a physical sense, playing through the single-player campaign is claustrophobic because its levels are far more tightly framed and self-contained than the missions in, say, The Witcher or Arkham Knight. But there’s another way the game makes you feel trapped. It forces you to do increasingly disturbing things without ever giving you the option to choose a different path. Like that scene where you throw a man off a ledge:

Did Kratos have to do that? You might find yourself wondering as you watch him hurl a helpless and, for all you know, innocent bystander to his certain death. Probably not, no. But it’s not like the game gave you much choice in the matter. He’s standing in your way, and the only way you’re allowed to interact with the man is by pressing the circle button. A large icon for the PlayStation controller button appears above his head when you get close enough to him. In other games, the symbol might genuinely mean “interact with.” But over the course of three games in the series, God of War has taught its players that pressing the circle button means one thing, and one thing only: it’s the way that you initiate one of Kratos’s brutal execution moves. You know, stuff like this:

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However, it looks like Crystal Dynamics isn’t done with Croft yet, having hired Ian Milham in August of last year. Milham was the art director on Dead Space and Battlefield Hardline, and had this to say about his new role:

“Adventure games have always been my first love. When the opportunity came to join Crystal Dynamics, I had to jump on it. This is the home of Lara Croft, who is a legend in action-adventure gaming and a pillar of the industry. I’ve admired Crystal’s work for a while now, as they continue to deliver top notch narrative and spectacle, coupled with deep systems and player choice. I’m very excited about where the studio is headed and I’m eager to be a part of it.”

The last game Crystal Dynamics released was the 20 Year Edition of Rise of the Tomb Raider in 2016, which added VR-compatible DLC and the co-op Endurance mode to an already huge game.

There have been rumors that perhaps the studio working on Shadow of the Tomb Raider is Square Enix Montreal, but given that their focus has been mobile games like Hitman GO, Lara Croft GO and Deus Ex GO for several years, it’s unlikely that they’re making a shift to full console games.

First of all, Rise of the Tomb Raider is gorgeous. Here’s a shot of Lara Croft approaching the game’s first tomb, which is an old ship frozen in ice.

The game is also just the right amount of weird. Here’s Croft dressed up in an optional animal-skull-hat outfit


The game plays really well, presenting players with a quasi-open world adventure set mostly in and below a remote, snowy section of Russia. It presents the expected mix of third-person combat and tomb-raiding, but with a heavy emphasis on exploration. The exploration stuff involves lots of climbing and jumping, some swimming in caves, some swinging from ropes, and lots and lots of keeping your eyes peeled for hidden stuff.

As you play, Croft learns a ton of new moves, all of which control very well. You can sneak and shoot, climb walls and craft grenades. Here’s a great one: you can shoot arrows into walls and climb them!

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Another winner: You can booby-trap the bodies of enemies you kill so that their buddies who walk by get hit with a cloud of poison


This is also a game with a dash of Metroid-like design that encourage you to poke around, memorize obstacles, gain new abilities and then go back and get through those obstacles. This, for some of us, is among gaming’s highest pleasures. Sure, you can spend a lot of time in combat against Russian soldiers and members of a deluded artifact-hunting secret society, but you can spend more hours looking for secrets. I spent more than 24 on my play clock.


The game is friendly and is designed to avoid wasting your time. Is that something you look for in a game? You should. After all, there’s not just a huge map to explore, but 45 fast-travel locations (marked as tents here), making Rise of the Tomb Raider pretty much Player Convenience: The Game.

Hell, not only can you craft fire arrows and healing herbs without even opening up menus (just hold the right buttons down when the right stuff is equipped), but the game is so player-friendly that they let you earn an upgrade that lets you ride UP ziplines extra-fast!


Since the game was released for Xbox One a year ago, Rise’s developers at Crystal Dynamics have been doling out downloadable content. It’s all bundled into the PS4 version (and is available for PC and Xbox One, of course). The Baba Yaga expansion added last spring seamlessly weaves in as yet another quest chain that initially pops up in one of Rise of the Tomb Raider’s main zones but then brings you to a new area made just for the expansion. It flows really well.

Warning: the new area can be pretty creepy.

There’s also an interesting survival mode and, more recently, a combat-free expansion that adds a narrative-heavy Gone Home-style of adventure to the mix.

Then there’s this weird Cold Darkness expansion that turns Tomb Raiderinto an odd, scored game of seemingly randomly-generated puzzles. This bit is not as highly recommended!

Showing a remarkable attention to detail, Rise of The Tomb Raider’s developers made sure that the the enemy grunts you encounter after you finish the game’s main story and go back to explore more of its open world have new lines of dialogue. In fact, they talk about how this one woman wrecked all of the enemies in the game–well, all of the enemies except for them


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The reboot kicks off in the middle of a heist, reintroducing you to the master thief Garrett and his rookie partner, Erin. Long story short, Erin is overconfident about the job, interrupts a secret cult ritual, and falls into a mystical light, resulting in an explosion that leaves Garrett unconscious. You awaken a year later with no memory of the time between the heist and the present. It’s up to you to figure out what has transpired within that lost time, what happened to Erin, and why The City is in the middle of a destructive revolution during the 15-hour campaign. The intro starts the game off strong, but as you progress the story’s poorly told and isn’t terribly exciting.

Throughout the main missions, it’s difficult to follow exactly what is going on. The major events and characters never feel important enough to pay attention to, and all of the story elements haphazardly come together in a disjointed way. The City is in peril, but Garrett doesn’t really care. A revolution against the corrupt Baron has begun, but Garrett only wants to find Erin. The motivations of the characters are all over the place, and the story poorly explains the situation from one chapter to the next. Even the reason why Garrett has super thief powers and a glowing blue eye is only sort of explained in the last half of the game. If you’re looking for an enticing story to keep you hooked, the predictable betrayals and confusing plot points aren’t enough to carry you through to the unsatisfying ending.


However, even though the story’s a wash, the stealth gameplay and thievery will keep you playing for the long run. Thief abandons action-heavy gameplay for slow, sneaky stealth. The majority of the game has you doing what thieves do best: lifting valuables, breaking into safes, and disappearing into the shadows. You also have access to Garrett’s arsenal of gadgets that allow access to new areas, and water, fire, and gas arrows are invaluable tools for distracting enemies. Using your gadgets effectively is rewarding in a way that makes you feel like a real thief as you disable traps with your wire-cutters, access secret vents with your wrench tool, and dowse torches with a shot of a water arrow.



Then there’s the thieving, which is exceptionally addictive. I was eager to explore every drawer and china cabinet when I knew they might contain loot, or at least a clue describing the location of valuable treasure. Plus, skulking around while stealing the silverware and golden rings laying around the environments becomes an alluring but entertaining distraction.


The same goes for the side jobs, which give much more life to The City’s otherwise forgettable residents. You’ll meet with citizens offering high-risk jobs that net you handsome rewards and oftentimes interesting side stories. But if you just want to test your sneaking skills, there are also challenge modes that offer well-designed, timed scenarios. With all of the collectibles, extra quests, and treasures to uncover, there is definitely plenty to explore in Thief’s dark, samey environments.


Speaking of, while it makes sense that a Thief would only work at night, the darkness that permeates the entire game doesn’t help to create a noticeable mix of settings. You’ll move from the dark streets of the City to the dark halls of a mental institution to the dark caves of an ancient underground library. These locales sound interesting on paper, but in the game you always feel like you are in the same place, in the dark, stealing stuff.

Outside of the stealth elements, Thief feels limited. The combat, for instance, is severely lacking. Yes, Garrett is a master thief, not a warrior, but every once in awhile you might find yourself going toe-to-toe with a guard. When this happens, all you have is a sword-dodging side-step move and a weak-feeling blackjack attack at your disposal, making for some incredibly dull encounters. Plus, because the combat is so lackluster, several of the armor and weapon upgrades become irrelevant simply because you’ll want to avoid the boring head-on conflicts at all costs.


Thief also has some issues with sound glitches. On more than one occasion, I experienced looping guard dialogue that continued even when I was nowhere near the source, and there was also some inaudible speech during in-game cutscenes. Only by enabling subtitles was I able to discern what was being said. None of these sound bugs were enough to completely ruin the experience, but the fact that sound issues came up fairly regularly was annoying to say the least.

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Continuing the trend of near-future warfare, players will control soldiers with cybernetic limbs and other technological augmentations, including EMP pulses, the ability to hack enemy bots and even command a swarm of insect-like robots.

The trailer below gives an insight into what fans can expect from gameplay:

Call of Duty’s campaign is no longer single player

The campaign for Black Ops 3 is no longer limited to a single player experience, but opened up to four-player online co-op. Two players can also team up locally in split-screen.

As a result of this, missions have more open battlefields with fewer narrow corridors. Early gameplay footage shows players in open expanses, with the choice of taken on various groups of enemies however they see fit.


Multiplayer now has characters called ‘Specialists’

As well as ‘Create-a-Class’, you’ll also now have to choose a character, or ‘Specialist’. Each Specialist has a unique weapon and ability. Battery, for example, has the Kinetic Armour ability, which allows her to deflect bullets which hit the body for a short period of time. Ruin’s unique weapons are Gravity Spikes, which can be slammed to the ground and kill enemies in the immediate vicinity.

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Release Date: November 18, 2014 RP-M+ for Rating Pending, Targeting a Rating of Mature or Above: Genre: First-Person Shooter Publisher: Ubisoft Developers: Ubisoft Montreal, Ubisoft Kiev

Step into a vast, unknowable land once again in this fourth game in the Far Cry franchise. Players find themselves in Kyrat, a wild region of the Himalayas struggling under the regime of a despotic self-appointed king. Using a vast array of weapons, vehicles and animals, players will write their own story across an exotic open-world landscape. Built from the legendary DNA of its award-winning predecessor, Far Cry 4 delivers the most expansive and immersive Far Cry experience ever in an entirely new and massive open world with a new weapons, vehicles, wildlife and more.

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Giant tortoises and C-4 explosives rarely make for a good mixture, but life is full of exceptions.

Take Far Cry 4. When Ubisoft Montreal was looking for inspiration for its latest fantasy, it stumbled across exploding tortoises and found inspiration.

Turns out, certain players of Far Cry 3, which takes place on a tropical island, were posting videos of themselves finding creative ways to murderize the game’s tortoises. Strapping explosives to the creatures and watching the results holds a deep fascination to a particular manner of mind.

There was one guy who was just running around blowing up tortoises with C-4,” recalls Far Cry 4 executive producer Dan Hay. “He was talking to them while he was blowing them up. Like ‘hey turtle.’ One time, he walks up to the tortoise, kills it with C-4, and accidentally alerts nearby enemy AI. ‘Oh shit,’ he says, retreats, falls into a river and is eaten by a shark.”

Hay laughs. “That wasn’t about story or character. We had just given that player an opportunity to go out and have some fun. We really looked at that for Far Cry 4. It was about going from ‘hey turtle’ to ‘oh shit.'”


I spent half a day last week playing around in Far Cry 4‘s open world. Set in the Himalayan mountains, it’s the story of a young fellow who returns to his home country to find it riven by war between forces led by a psychotic dictator and rebels. Such wars are not unknown in the real world.

It’s the first time Far Cry has taken its playpen mixture of combat toys into the new generation. Certainly, this is a game that looks and sounds as lush as its mountain kingdom surroundings. Playing a PlayStation 4 build, I found myself enjoying the dappled light of a hillside tree, the sound of insects and birds, and the sight of a grazing rhino, interrupted here and there by faraway machine gun fire and screams.

But this game is much the same experience as its predecessors would suggest. You travel around and invade military outposts, all the while leveling up new combat and survival skills. You climb and disable communication tower puzzles. You interact with local fauna and flora, take on side missions, earn cash for new weapons. It’s all glued together with some simple crafting, elementary combat and slightly disjointed driving. Play for a few seconds and you’re going to know that you’re in a Far Cry game.


New systems have been added. Now you can play in co-op. You can earn points that can be spent on AI reinforcements, called Guns for Hire (which sounds like a bad ’80s band). You can fly. You can also ride animals into battle, essentially turning them into weapons. I rode an elephant through a gunfight and mashed up some enemies before the poor creature finally succumbed to death-by-machine-gun. It was fun. I was sad to lose such a fine mount.

“Our game director said one day that he had an idea of riding an elephant into a fortress,” explains Hay, adding that the fantasy of exotic mountainsides, a “unique culture” and rampaging animals is what led the team to choose a Himalayan setting.


Attempts have been made to address the more annoying elements of Far Cry 3‘s characters and story. Where previously, douchey gap-year types made the mistake of partying on an island controlled by a maniac, now a serious chap seeks to fulfill a noble task; that being disposing of his mother’s ashes, in the country of her birth.

Of course, the main character is marked for greater things than hauling a creepy urn across country. Far Cry 3‘s tinpot Lord of the Flies villain Vaas is replaced by a charismatic but ruthless dictator called Pagan Min. You may recollect meeting the bad guy, stabbing a subordinate in the eye while charming the viewer, during E3 reveals.

Min’s presence in the game is a huge part of its story. Even in the open-world segments, radio stations play government or rebel propaganda, and posters of the despot are invited to be torn down.

“Vaas was a product of Rook Island,” says narrative director Mark Thompson. “You could see how he was formed on that island, in these little pockets of insanity. He was as limited as the island was. He would not have succeeded anywhere else.

“But Pagan Min comes from outside and sees an opportunity to take over. He reshapes the place in his own image. Vaas was a product of the islands but this world is a product of Pagan Min.”

Hay says the game is not making any geopolitical point, meaning it’s not interested in talking about any particular political situation, though there are strong parallels with Nepal during its decade-long civil war, which ended in 2006. Some of the game’s developers visited that country and spent time with former Maoist insurgents. It was a well-advised trip. There are details in this world that feel genuine and well-observed.

“Vaas was a product of Rook Island,” says narrative director Mark Thompson. “You could see how he was formed on that island, in these little pockets of insanity. He was as limited as the island was. He would not have succeeded anywhere else.

“But Pagan Min comes from outside and sees an opportunity to take over. He reshapes the place in his own image. Vaas was a product of the islands but this world is a product of Pagan Min.”

Hay says the game is not making any geopolitical point, meaning it’s not interested in talking about any particular political situation, though there are strong parallels with Nepal during its decade-long civil war, which ended in 2006. Some of the game’s developers visited that country and spent time with former Maoist insurgents. It was a well-advised trip. There are details in this world that feel genuine and well-observed.


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Upcoming fifa 2018 release date and rival pes 2018


Football games don’t come much bigger than FIFA, and last year’s entry in the series definitely hit the back of the net .

But with the season well and truly over, many gamers will be looking ahead to the next installment in EA Sports massively successful franchise.

We already know that FIFA’s big rival, PES, is launching on September 14, 2017 . So, what about FIFA 18?

As usual, EA Sports is being pretty tight-lipped on the subject. At least until the E3 gaming show in LA in June.

PES 2018 is coming in September 

But a few rumours have managed to lace up their boots and hit their stride. Here’s what we know about FIFA 18 so far.

With Pro Evolution Soccer launching on September 14 and last year’s FIFA 17 debuting on September 29 – it’s a fair bet we’ll be seeing FIFA 18 in about three month’s time.

We don’t know exactly when – but with the football season kicking off on August 12, the development team should have had enough time to iron out any kinks.


Anthony Martial in FIFA 17
Anthony Martial in FIFA 17 (Photo: EA SPORTS FIFA)

We can expect the customary £45 price tag for the latest FIFA game if you’re planning to buy it on PS4 or Xbox One.

What’s unclear at the moment is whether a cheaper version will be released for Xbox 360 and PS3.

There may also be discounts for those that elect to pre-order the game. And, as usual, you can expect bundled deals along with consoles.

Assassin’s creed origins upcoming action thriller game



Long have core game players proclaimed that the Assassin’s Creed franchise needs to take a year off, a break that would allow Ubisoft to reinvigorate itself and give users a chance to remember what makes the franchise exciting. According to new reports coming from numerous Kotaku sources, Ubisoft may indeed give Assassin’s Creed the year 2016 off. That’s not to say those developers aren’t hard at work, however. The same reports now say that the next Assassin’s Creed will arrive in 2017, taking players to Egypt.

Code named “Empire,” 2017’s Egyptian Assassin’s Creed was originally scheduled to be Ubisoft’s 2016 iteration of the franchise. However, after the poor reception of Assassin’s Creed Unity in 2014, Empire was bumped. 2015’s Assassin’s Creed Syndicate, on the other hand, was reportedly too far into development to be pushed further back, but it will apparently be the last Assassin’s Creed released under the annual schedule.

While Kotaku has been able to corroborate some details regarding the Egyptian Assassin’s Creed, a number of unconfirmed and uncorroborated details initially came from a series of posts on 4chan. Be warned, these details could be considered light spoilers:

  • Ancient Egpyt setting to avoid “historical accuracy,” offers freedom for heavy handed storytelling
  • Set prior to all other Assassin’s Creed titles, before the formation of the Assassins and Templars
  • Protagonist is a slave/ex-slave that looks like Altair, but with darker skin
  • Talks of a protagonist-focused trilogy, like Ezio, with Greece/Rome in the future
  • Little to no recycled content beyond animations, seamless world exploration
  • Three times the size of Black Flag

Considering 4chan is the source of the anonymous info, it should be clear that the details beyond the Egyptian setting should be considered as unreliable rumors in the extreme.

Assassin's Creed Takes 2016 Off

That being said, Kotaku’s Jason Schreier is reporting that he’s talked to as many as five sources with regard to this information. Through them, the information that the game is set in Egypt, that its code name is Empire, and that the game will launch in 2017, is corroborated. Rome was apparently also mentioned by a source last year, but is not part of the latest rumors. Considering the 4chan posts were made prior to Kotaku going live with this information, it gives credence to the information the anonymous source provided – at least to a degree.

There’s much regarding Ubisoft’s actions in recent memory that is in line with a two-year release schedule for future Assassin’s Creed games. The large push in 2015 and going into 2016 for Assassin’s Creed Chronicles, the trio of side-scrolling games set in China, India and Russia, now makes a lot more sense considering the absence of a major release for 2016. Ubisoft also registered a URL for assassinscreedcollection.com, perhaps implying a remastered collection will release during the holidays.  If Ubisoft was going to skip 2016, they’d be wise fill it with other Assassin’s Creed content in order to maintain brand recognition.

And don’t forget about that Michael Fassbender Assassin’s Creed movie, either.

All that aside, an extra year of development offers Ubisoft the opportunity to rebuild positivity around Assassin’s Creed. Even when a solid installment in the franchise like Syndicate gets released, the consumer frustration and weariness from previous years still lingers. Game players so often will say, “I’m interested in Assassin’s Creed: Syndicate,” and then follow it with, “but Unity” Maybe a year off will give Ubisoft the opportunity to surprise us again.