God of War (2018)

[hero olympus 1 974]

God of War: Ascension I God of War: Chains of Olympus I God of War (2005) I God of War: Ghost of Sparta I God of War 2 I God of War 3 I God of War: Ragnarök I Общее обсуждение

Дата выхода: 20 апреля 2018 (PlayStation 4), 14 января 2022 (Windows)
Платформы: PlayStation 4, PlayStation 5, Windows
Разработчик: Santa Monica Studio
Издатель: Sony Interactive Entertainment
Жанр: Action-Adventure, Hack and Slash

 

Описание: Выбравшись из тени богов, Кратос обязан приспособиться к жизни в незнакомых землях с их неожиданными опасностями, а еще стать хорошим отцом. Вместе со своим сыном Атреем он отправится в очень личное путешествие по суровым скандинавским пустошам, где им вдвоем предстоит сражаться с разнообразным злом.

 

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Обзор GameMag.ru

[shua0 15 042]

Господа убийцы богов, за размещение спойлеров в теме, без их скрытия, будет прилетать Мьёльнер отправляющий во временую Вальгалу!

Тем же кто хочет обсудить сказания о деяниях Кратоса во всех подробностях, добро пожаловать в местный Мидгард! 

 

Гид по расположению карт сокровищ и мест раскопок

 

Наш обзор God of War [10 из 10]

Изменено 22 апреля, 2018 пользователем Azzy
Добавил ссылки на гид и обзор.

[Kurzgesagt 6 958]

Цитата

Оригинальный God of War вышел ровно 14 лет назад!

В честь этого, художник Jax Navarro сделал вот такую работу.

Кори Барлог на GDC 2019 

Цитата

Кори Барлог распаковывает массивную статую Кратоса в броне Бога Войны из God of War 2 и рассказывает истории об игре.

Ограниченное издание - всего 1250 экземпляров
по цене $479.99.

 

https://www.gamingheads.com/god-of-war-kratos-on-throne-statue.html

[Kurzgesagt 6 958]

 

Цитата

God of War cleaned house during 2018’s award season. While its visuals and gameplay were appropriately praised, its narrative and character development seemed to be the factor that pushed it over the edge for many people. The new ax-wielding, bearded Kratos carried an emotional tone and range not seen in the other rage-fueled installments and players took notice. But this journey wasn’t as easy as tempering Kratos’ bellowing and was instead a long, multi-step process that shaped the weathered warrior into a more down-to-earth human.

One of the biggest initial issues was Kratos’ original design. When the idea for the new God of War game was bubbling, Bruno Velasquez, animation director at Sony Santa Monica, started putting Kratos’ PS3 character model with the young Deimos one from Ghost of Sparta as a sub in for the unnamed Atreus. And, as he described in his talk for GDC 2019, it immediately looked odd because Kratos is not built like a normal human.

 

A Greek freak

He’s got long, gangly arms and feet, enormous hands, and a tiny head, which worked for what those old games required of him. The Blades of Chaos were weapons that had a wide area of effect and is where those freakishly stretched appendages helped out as they gave him even more reach. These “comic book, over the top” proportions worked for the gameplay and the far away camera angles but not when those aspects are no longer the focus.

So when Velasquez placed Kratos in the rough scenes that were going to be in the upcoming God of War game, it was just off. The godly proportions made it difficult to believe in his more human side. This is possibly why the other tender moments in God of War Ascension, Chains of Olympus, and Ghost of Sparta came off as stilted because it just wasn’t believable coming from this pale, pissed off Slenderman. Something had to change so the team made his body more in line with human standards (as shown in the picture above), which immediately helped ground the character in a way that the Spartan basketball prospect never could.

This ideology didn’t just apply to the actual game either as the marketing key art also had a lot to do with it. Many of the magazine layouts and key art for the old games was meant to portray Kratos as an almighty badass. Basically, if it could be a heavy metal album cover, then it worked perfectly. But the 2018 game toned that down, as evidenced by the relatively tame poses found on the box art and other Sony-produced screenshots. Every part of the game had to convey that this was a more mature experience and that included promotional material.

While the team wanted to turn the dial down, Kratos still had to exhibit strength but in a more palatable way. Kills still had to be brutal, but not overly so. The walking animation isn’t a dainty tiptoe or a dramatic sprint, but a “dynamic, strong, and grounded” jaunt that still displays Kratos’ power without overexaggerating it. Velasquez admits that it is still over the top — which, given his power, makes sense — but it is “a little bit more grounded than it used to be before.”

Growing up with God of War and Kratos

Studio culture also had a huge impact on changing Kratos. Velasquez showed a picture of some Sony Santa Monica team members in 2007, which he affectionately calls the “college years,” hanging out and looking relatively carefree. But then he flashed to a more recent photo where he had a wife and two young daughters. And while Cory Barlog, the game’s director, has been open about how his wife and son shaped the game, it wasn’t as clear that this maturation had affected more of the studio. Having a more mature team is what created Atreus as they had more parental life experiences to pull from and this was important given that he was arguably the biggest catalyst for Kratos’ maturation.

Animation also had to change to ground Kratos and is what inspired the team to look more into motion capture. According to Velasquez, 90 percent of the old games were animated by hand and the remaining 10 percent were motion captured in cinematics. And these animations were often dramatic, given the nature of the iconic Blades of Chaos. Motion capture automatically pushed the game in a more realistic territory since a human was doing almost all of the work.

Sometimes these humans were the animators themselves as they were coming to grips with how this tech worked. Velasquez as his cohorts would strap in the mocap suits to sketch out scenes and possible combat moves, which he said was fun but also served a purpose in guiding Kratos to where the studio wanted him to be. After all, if a human could do it, it was believable. It also saved time for things that couldn’t be mocapped like the non-humanoid dragons and the World Serpent.

Finding the right “Boy” (and Kratos)

The actual humanoid, well, humans were also incredibly important in Kratos’ great big makeover as players had to like the characters in order to care about their emotional journeys that were central to the game. Sunny Suljic and Christopher Judge had incredible chemistry as Velasquez said he knew they had their duo once they saw the sample video they made together.

But aside from actual acting chemistry, Suljic and Judge also inadvertently paired well in one other aspect: height. Suljic is just under 5 feet tall while Judge towers over him at 6 foot and 3 inches. It’s noticeable and not unlike the height difference between Kratos and Atreus. And since the team was originally just looking for authenticity, this was a happy accident. It also made the adjustment processes a lot easier since the team didn’t have to account for scale differences in the game. This allowed the performances to be authentic and less about touching it up later.

Combat, however, was a much more arduous task given how the team was ditching the iconic Blades of Chaos in order to give Kratos a new lease on life. The Leviathan Axe started out as a normal axe without many complicated moves or magical properties. But the team found this to be a little blander and ended up “inject[ing] back a little bit of the old God of War games into it.”

Axing a bit of realism

This is where throwing the axe came into play as well as some of the boomerang-like normal attacks. Not only did it make combat more flashy but it did so without sacrificing the realism the designers were striving for. It was a happy middle ground. The symbolism of the Leviathan Axe itself also showed Kratos’ growth since it was a sentimental gift from his wife to protect their child rather than destructive dual swords fused to his arms. And even though these dual swords make a return, they had to be reined in and Kratos didn’t jump around as much with them. In essence, the team grounded Kratos by literally grounding him.

“Grounded” doesn’t mean it still didn’t have heft and somewhat fancy moves. Velasquez talked about finding stuntman and action director Eric Jacobus on YouTube. Jacobus’ skills are quite impressive and he often posts videos about him replicating real-life versions of attack strings in fighting games. This, paired with Jacobus’ enthusiasm, made him an easy pick for God of War to help perform the mocap needed for Kratos’ attacks.

Despite Jacobus’ ability to do things most humans can’t do, Kratos is still a god, meaning that the talented stuntman was able to provide convincing, practical motions while also being just flashy enough for a combat-heavy action game. Like the Leviathan Axe itself, he was able to find the line between video game hyperbole and reality that matched the studio’s vision.

Jacobus helped bring Kratos’ combat into something more real but he was only a small part of what Sony Santa Monica had to do in order to make the God of War star a more feasible character. Finding the right actors, toning down his grandiose animations, using motion capture, changing the character model, and maturing as a team were all cogs that helped change this monstrous maniac into something more worthy of sympathy and care. This might have seemed impossible a few years ago but, given the accolades, sales, and high review scores, it appears to have paid off.

 

 

[Kurzgesagt 6 958]

Цитата

 

In a presentation given during GDC 2019, God of War director Cory Barlog revealed how he actively approached the game as a continuation rather than a reboot, that the game’s script had been rewritten after a year of work, and how he continuously pitched the game during the course of development.

Before writing the game, Barlog wanted to establish that SIE Santa Monica wasn’t rebooting the series, but expanding upon it. He compared the mythologies that exist in God of War to "galaxies spread throughout a complete universe,” saying they all “exist together concurrently, and they are simply separated by geography.” Using that as a basis, he had to figure out how to describe this game, wanting to stay away from calling it a reboot.

A slide from Barlog’s presentation.

"I was calling it a reboot, but I knew that I didn’t want to continue to call it a reboot because... a lot of people would have these misconceptions and all this baggage that comes along with what a reboot is,” Barlog said. "We’re gonna continue the timeline and reinvent the feel. We did so much work developing the character of Kratos, why would we throw all that out? We’re sort of treating the first seven games like chapter one of this character’s life."

Initially, there were gameplay pillars that the team adhered to, including keeping the game fun and accessible, focusing on unflinching close and personal combat, and setting it in a real, immersive and interactive world. These pillars would evolve as Barlog and the team continuously worked on and pitched the game.

"The first year, there are several points that I ignored that I was telling other people ‘we need to do this’ and then I totally screwed up, so I ended up having to reboot the reboot of the script, so we wrote the script for a year and it was the wrong script,” Barlog said. "I wasn’t paying attention, I wasn’t making this about the main characters and the story started to meander a little bit."

 

 

Barlog made sure to adhere to a few rules he set for himself, including how it should be all about a simple story with complex characters and the narrative should revolve around “breaking the cycle,” both for the developer and for Kratos as a father.

"It was breaking the cycle for us as a studio, kinda getting caught in that rut of [building on top of the last game, and breaking the cycle of Kratos] being an absolute crap father, him blaming the rest of the world. The key to breaking that cycle was gonna be this father-son story... I ended up writing a story that assumed you already knew the relationship of the father and son."

Once the script re-write began, Barlog focused on key tenets in the game, all revolving around character growth: narrative, combat and exploration. To accomplish this, everything needed to tie back into character growth, whether it be weapon and armor upgrades or witnessing Kratos teach Atreus how to be a god, and Atreus teaching Kratos how to be human in turn.

Eventually, Barlog reworked these tenets when pitching the game to president of Sony’s Worldwide Studios, Shuhei Yoshida. He changed “Narrative” to “Father and Son,” further exemplifying how important this relationship would be to the core of the story, and to their character growth.

 

During this pitch, Barlog focused on the combat being close, intimate and personal, and it always having context in the drama. Similarly, the pitch implored that exploration should empower the player and emphasize discovery. Character growth as a whole would see Kratos and his son change through mechanics and actions, with him teaching his son as they progressed.

Barlog also spoke about how George Miller, best known for creating Mad Max, told him “You’ve always got to dramatize your exposition,” a simple adage for writers to follow that suggests filling in backstory is best delivered in an active, dramatic way. For God of War, this translated into playing the story instead of watching it, ultimately taking part in the drama as it unfolds.

Other tidbits about the game’s development were revealed during the presentation, including how Barlog hadn’t settled on the name Atreus until the end of 2016, how he didn’t reveal his intentions of using a single shot throughout the game at first, and that he was unsure of simply calling it God of War in the beginning, and initially referred to it as God of War 4.

 

 

[Kurzgesagt 6 958]

Цитата

Сиквел God of War уже в разработке? 

Во время GDC 2019 журналисты задали вопросы Креативному директору Кори Барлогу и дизайн-директору Джейсону Макдональду, в разработке ли сиквел God of War (2018)?

Кори Барлог сделал заявление:
"Сразу скажу, я работаю над одним проектом, но не спрашивайте, является ли он продолжением God of War."

Джейсона Макдональд сообщил следующее:
«Возможно, вырезанные идеи, боссы, флешбеки появятся в сиквеле, но я ничего не обещаю. Мы продолжаем работать над серией God of War.»

Факт: 
Ветерана студии Джейсона Макдональда повысили до дизайн-директора в работе над продолжением God of War (2018). До этого он отвечал за боевку во всех частях франшизы.

Значит всё-таки они работают над двумя играми сразу, кхм.

[zaIN 4 163]

Барлог над новым айпи. А на гов 2 он одним глазом будет смотреть?

[Kurzgesagt 6 958]

5 минут назад, zaIN сказал:

Барлог над новым айпи. А на гов 2 он одним глазом будет смотреть?

Кто знает, очень не хотелось бы.

[Nobel Gamer 1 395]

Со сложностью последней валькирии на самом высоком уровне сложности конечно переборщили. Это слишком сложно. 

 

PS: После этого ролика еще раз запустил и сразу прошел) 

 

Изменено 24 марта, 2019 пользователем Nobel Gamer

[Kurzgesagt 6 958]

 

Цитата

 

‘God of War’ Director on Imposter Syndrome, Overcoming Failure, Doubt

It’s easy to talk about what made 2018’s “God of War” so successful. The PlayStation 4 exclusive was a beautiful game, with an emotional story that transformed Kratos from an angry, two-dimensional anti-hero into an empathetic figure who, at the end of the day, was a father struggling to raise his only son.

But perhaps that’s why “God of War” director Cory Barlog didn’t go down that path for his 2019 Game Developers Conference panel. While he did touch on parts of the development process, those stories were mostly told to reinforce an overarching theme: how to deal with failure and self-doubt. Barlog talked about how much he doubted himself — even how much the team doubted themselves — while making “God of War.”

Add to that the stress that comes with being in charge of the next iteration of a multi-million dollar franchise, and you begin to see how much of a mental toll development can have on the people behind these blockbuster games. It was a remarkably personal topic, but that’s precisely what made it so relatable to the hundreds of people who showed up to learn from Barlog’s experiences.

 

Losing the thread
When Barlog and Sony Santa Monica began development on the “God of War” reboot, they played it fairly safe. Barlog was calling it “God of War 4,” already settling on the idea that the story would continue the timeline from the previous games and give players a new perspective on the vengeful Kratos. Inspired by the 2009 post-apocalyptic movie “The Road,” he wrote a short story for the team so that they could get a sense of the tone he was aiming for.

But after the first year, Barlog realized something: The script he was working on was all wrong. He said it “meandered” too much and didn’t spend enough time exploring the two main characters, Kratos and his son. This version of the story assumed players already knew about their relationship and was filled with plot elements that, while exciting, shouldn’t have been the main focus. So to the dismay of the other writers, he scrapped that script and started writing a new one.

For this version of the story, he honed in on the concept of breaking the cycle, not only for Kratos and his murderous past but for the company as a whole.

“It was breaking the cycle for us as a studio, getting caught in that rut of saying, ‘Well, we did the last game. So let’s keep putting things on top of it,’ instead of really digging in and saying, ‘We’re just gonna rip this thing up and figure something new out,’” said Barlog. “It was me as a developer having some sort of confidence in what I was doing and trying different things … even though I would experience doubt all the way through [development].

“But it’s also Kratos breaking the cycle, this cycle he’s had since the beginning, of the gods screwing with his life, him being an absolutely crap father, him blaming the rest of the world.”

The stressful lead-up to E3 2016
Fast forward to 2015, when Sony Santa Monica was busy preparing for “God of War’s” big reveal at the 2016 Electronic Entertainment Expo in Los Angeles. Instead of just having a teaser trailer, Barlog wanted to do a live gameplay demo during Sony’s E3 press briefing. The show was nearly a year away at that point, so he figured that’d be enough time to make something cool and different.

 

The problem was they had so much work left to do. Among other things, the engine wasn’t finished yet, they were still nailing down the art direction, and they hadn’t built the beginning of the game because they’d been busy working on the middle section (the mountain area). Barlog described this hectic time as trying to “take an inaugural flight on a plane while we were building the plane and also drawing the blueprints of the plane.”

Initially, he wanted the demo to take place inside the mountain and end with a giant screaming monster before cutting to black (he called it “so cheesy” in retrospect). Despite his gut telling him it wasn’t great, he ignored it and pitched his vision to Sony’s events and PR people. No one directly told them that it sucked, but he could tell that they were losing interest halfway through the presentation. So with the blessing of Sony Santa Monica head Shannon Studstill, he took another crack at it.

Sony was much more receptive to his new idea — a slow reveal of Kratos and Atreus before they go out hunting — and the developers began focusing on what they were going to show at E3. Since it was Barlog who was going to play the nine-minute demo on stage, he had to spend two months just rehearsing, making sure he could execute every fighting move and every camera pan perfectly. To help him out, the team built hidden bowling lane-like “bumpers” to prevent Barlog from failing too much. But he said he still had “many, many opportunities” to mess up if he positioned himself the wrong way or hit the wrong button combination.

And Sony had several contingency plans in place if the live demo crashed while Barlog was on stage, including a backup PS4 kit and, for the worst case scenario, a trailer that’d play if nothing else could be fixed. Understandably, the director was scared and nervous, especially on June 13, 2016, the day of the reveal. He barely slept the night before.

“Throughout all this time, I’m constantly just in my head, having this voice [telling me], ‘You’re gonna screw it up,’ and having all these potential mess-ups that I could do,” said Barlog.

 

 

When it came time to walk up a set of stairs to the balcony where he’d play, Barlog was freaking out because he suddenly forgot everything about the demo: his stage cues, what the individual buttons do, everything. With just minutes to go before the press briefing began, he was desperately trying to remember what to do. It was only when “God of War” composer Bear McCreary started conducting the live orchestra that the details came rushing back to him.

In the end, Barlog and the team pulled off the demo without a hitch.

“Throughout all of it, all of us, and me especially — I was experiencing doubt every single step of the way. It was the impostor syndrome times a thousand, this feeling of what I have to say isn’t valid, what I’m doing isn’t all that good,” said Barlog.

“And pushing through that, breaking through each one of those walls … sadly lead to another wall of doubt. But that was the process! That was the process of pushing through all of that and ensuring we can get to that end result.”

If there’s one thing that Barlog wanted GDC attendees to take away from his talk, it’s to heed his advice about what to do whenever the voice of doubt — whether it’s coming from you or the people around you — inevitably pops up during the creative process.

“Remember that those voices are wrong. And sometimes, they’re right. … I was right to doubt that crappy demo because it was crap. That’s the messed up part about doubt in general: that it’s right as much as it’s wrong,” he said. “It is up to all of us, individually [and] for each individual situation, to be honest with ourselves, to trust ourselves, to trust the people around us … and really endeavor to push through every one of those fucking doubt walls because on the other side is always something better than where you were at in the beginning.”

 

 

 

Цитата

 

GOD OF WAR DIRECTOR REVEALS FULL STORY BEHIND THAT FAMOUS E3 2016 DEMO - GDC 2019

“We were trying to take an inaugural flight in a plane while building the plane and drawing blueprints of the plane."

BY COLIN STEVENS 

In a presentation given during GDC 2019, God of War director Cory Barlog revealed the full story behind the famous E3 2016 demo that debuted the new God of War to the world.

Barlog says the team always knew the game's big reveal would be at E3 2016, though he didn’t know if it would simply be a logo, a trailer or a full demo. Nine or 10 months before the show, he decided the demo would take place inside the game’s mountain, and pitched this idea to Sony and PR representatives

“About halfway through the pitch I realized ‘this is absolute crap.’ But I’m still giving the pitch,” said Barlog. "So in my mind, I’m starting to think of ways to eject. I start having a few ideas – potentially the beginning of the game, a few visual ideas that are coming up while I’m just running on autopilot on the pitch.”

 

Soon after, Barlog decided he wanted to take another crack at a pitch, but with a completely different premise. After writing a quick skeleton of what ended up being in the demo, Barlog had a conference call with these same people - this time, the rough pitch worked. Two weeks later, they came in person and he gave another full pitch on this newer idea, and it was going well.

“At the end, I couldn’t resist, I threw in a little joke, and said ‘then we can get Bear (McCreary) and he can play a live orchestra: the whole thing.’” Naturally, the individual in charge of throwing Sony’s E3 events, his “eyes got really big - super excited.” Barlog suspected this was an idea the event planner had had for a while, but a couple of weeks later, the planner brought in a diorama of the stage, saying “We’re really excited about doing the live performance to the live orchestra.” Of course, Sony ultimately brought in a live orchestra conducted by Bear McCreary to score the E3 2016 conference: McCreary also scored God of War as a whole.

 

 

 

 

 

 

 

 

As time got closer to the June show, doubt and stress continued to impact Barlog and his team. “We were going through really stressful times because one: the engine’s getting good. Two: the lighting was maybe 35-40% of what it was going to end up being in the final game, and that was what we were gonna end up using for E3, so there was just NO way we were gonna get that done. Art direction: we hadn’t really been able to figure out exactly what our art direction was going to be."

"At the same time, [we were] trying to figure out the combat, trying to figure out the enemies, literally every aspect of the game that you could try to figure out we were trying to figure out. So we we were trying to take an inaugural flight in a plane while building the plane and drawing blueprints of the plane, and it’s just taking off."

 

He said with God of War 2, a game Barlog also directed, the team was burning demo discs at 6 a.m. the day of E3, but in 2016, the demo had to be done two weeks ahead of time. The day of Sony’s press conference, Barlog had a couple of rehearsals with the orchestra with no sleep, and even had to rehearse an apology speech in case the demo and the backup demo happened to crash, and they’d be forced to show a trailer instead.

Barlog said that, just before he began playing the live demo, he genuinely forgot everything about it. He couldn’t remember the first button he needed to press, or the cues he needed to adhere to. Ultimately, an image on McCreary’s monitor reminded him what had to be done, and the demo was ultimately a success, unveiling a bold new vision for a game in an already acclaimed series.

 

 

Изменено 25 марта, 2019 пользователем Kurzgesagt

[Stig 7 920]

На только что завершившейся ежегодной церемонии награждения BAFTA игра взяла сразу 5 статуэток, в том числе в номинации игра года! 

 

[zaIN 4 163]

stig09 За музыку спорно, конечно 

[Lace 4 452]

блин, им не надоело очередные статуэтки\награды забирать ?

12 часов назад, zaIN сказал:

stig09 За музыку спорно, конечно 

почему? музыка ведь прекрасно вписывается в сеттинг, прекрасно подчеркивает какие-то эмоциональные моменты в сюжете да и вообще не режет слух и тд.

[zaIN 4 163]

Lace Ну тут только монетку бросать между рдр2 и гов. 

[Kurzgesagt 6 958]

За музыку спорно? Хм, каждому своё конечно. Для меня OST года, но это потому что я люблю оркестр.

 

Цитата

 

В японской столице прошла церемония Famitsu Game Awards 2018, на которой были определены главные игры прошлого года по мнению журналистов, деятелей японской индустрии и геймеров.

Лучшие проекты выбираются путем масштабного голосования аудитории и экспертного жюри и объявляются в прямом эфире. Ежегодное шоу проходит в центральном зале отеля Tokyo Dome, расположенного внутри парка аттракционов "Токио-Доум-Сити".

Главный приз вечера унесли представители компании Nintendo и Capcom. Super Smash Bros. Ultimate и Monster Hunter World были признаны лучшими играми года. Они же стали главными бестселлерами 2018 на японском рынке.

Игра года

• Super Smash Bros. Ultimate (Nintendo Switch, Nintendo)
• Monster Hunter World (PlayStation 4 / Xbox One / PC, Capcom)

Приз за выдающееся качество

• Octopath Traveler (Square Enix)
• God of War (Sony)
• Judgment (Sega)
• Super Smash Bros. Ultimate (Nintendo)
• Detroit: Become Human (Sony)
• Dragon Quest Builders 2 (Square Enix)
• Fate/Grand Order (FGO Project)
• Pokemon Let's Go (The Pokemon Company)
• Spider-Man (Sony)
• Monster Hunter World (Capcom)
• Red Dead Redemption 2 (Rockstar Games)

Новичок года / Лучший новый IP / Лучшее новое ответвление

• Octopath Traveler (Square Enix
• Detroit: Become Human (Sony)

Лучший саундтрек

• Octopath Traveler (Square Enix)

Приз за инновации

• Astro Bot: Rescue Mission (Sony)

Лучший персонаж

• Кирби (Kirby Star Allies, Nintendo)

Лучшее мобильное приложение

• LINE: Disney Tsum Tsum

Лучшая компания-разработчик

• Capcom

Самый ценный разработчик (приз за вклад в развитие индустрии) 

• Масахиро Сакурай (Super Smash Bros. Ultimate / Nintendo / Sora)

 

•  

Цитата

Завершилась последняя церемония награждения BAFTA Game Awards 2019.

Игра года: God of War
Лучшая музыка: God of War
Лучший звук: God of War
Лучший сценарий: God of War
Лучшая актерская игра: Бальдур (Джереми Дэвис)

Также стоит отметить, 2 награды забрала отличная инди-игра "Return of the Obra Dinn" от создателя Papers Please, которую создал бывший программист Naughty Dog (Uncharted 2) Лукас Поуп.

 

Цитата

АНОНС! СКОРО В ПРОДАЖЕ!
Дж. М. Барлог - God of War. Бог войны
АСТ, God of War, 384 стр., 250 руб
Дата выхода - май 2019

Официальная новеллизация нового игрового хита.
Присоединяйтесь к Кратосу и его сыну Артею в самом волнующем и захватывающем путешествии за всю историю God of War.
Поход мести Кратоса против богов Олимпа давно позади; теперь он живет как человек в царстве скандинавских богов и монстров. Именно в этом суровом, неумолимом мире он должен сражаться, чтобы выжить... и научить своего сына поступать так же. 
Это поразительное переосмысление God of War разрушает основные элементы, которые определили серию - упоение боем, захватывающие дух масштабы и мощное повествование, - и сливает их заново, да так, что голова кругом!

20 млн копий?

 

Цитата

 

Скоро вы всё узнаете о вселенной игры «Бог войны»

04.04.2019

 

В июне издательство АСТ издаст официальную новеллизацию мирового игрового бестселлера God of War. Это будет самым волнующим и захватывающим путешествием за всю историю вселенной суперпопулярной игры God of War. В мире уже продано более 20 000 000 копий этой игры и её последняя версия стала одной из лучших игр 2018 года.

God of War сделана в жанре приключенческий экшн и выпущена на студии компании Sony в Санта Монике. Первый релиз игры для консоли PlayStation 2 вышел еще в 2005 году. Релиз 2018 года стал уже восьмой игрой серии God of War и первой, основанной на скандинавской мифологии.

 

Креативный директор игры Кори Барлог объяснил переход в игре от греческой мифологии к скандинавской развитием игры и переходом важного рубежа, похожего на тот, как человечество перешло из эпохи «до нашей эры» в эпоху «нашей эры».

Книгу «Бог войны» по сюжету игры написал отец Кори Барлога писатель Дж. М. Барлог. Он заново переосмыслил многие моменты игры и сделал головокружительный роман. Здесь будет описана вся история Кратоса и его сына Атрея, которые живут обычной жизнью в царстве скандинавской мифологии. Но все изменится и Кратос должен будет научить своего сына выживать. Обучение будет долгим и трудным, ведь между отцом и сыном довольно сложные взаимоотношения...  

 

 

[DriverUFO 22 106]

Про звуки говорят

Изменено 5 апреля, 2019 пользователем DriverUFO

[zaIN 4 163]

4 минуты назад, DriverUFO сказал:

Про музыку

Про звуки же

[DriverUFO 22 106]

13 минут назад, zaIN сказал:

Про звуки же

исправил

[Kurzgesagt 6 958]

Цитата

Кратос пробрался на обложку журнала Men’s Health

Журнал, как известно, посвящён здоровью, физкультуре и на его обложке часто мелькают звёзды Голливуда. В этот раз там появился Кратос, а в очередном выпуске журнала обещают рассказать о том, как добиться «ультимативного тела отца».

[Kurzgesagt 6 958]

 

[Kurzgesagt 6 958]

Цитата

Продолжение God of War и Horizon Zero Dawn уже в активной разработке.

Актриса Джанина Гаванкар (Horizon Zero Dawn / SW Battlefront 2) рассказала во время Star Wars Celebration, что Horizon Zero Dawn 2 уже в разработке. Во время общения с одной из фанаток, которая отметила, что она играла еще в Horizon Zero Dawn: Frozen Wilds (персонажа Tatai), актриса сказала следующее:

"Это невероятно, подожди, пока не увидишь продолжения. Я знаю кое-какие секреты - умрешь от восторга.”

Джейсон Шрайер, известный аналитик и инсайдер с портала Kotaku поспешил сделать подтверждающее заявление:
"Да, продолжение God of War и Horizon Zero Dawn 2 в активной разработке."

 

[ANDREvv 8 521]

Тот самый доклад про питч всем генералам Sony и первую презентацию, очень смешно местами.

[Stig 7 920]

 

+ В PS Store завезли бесплатную динамическую тему в честь предстоящей годовщины.

 

Суммарные продажи игры, вероятно, так же огласят на этой неделе.

Изменено 14 апреля, 2019 пользователем stig09

[Kurzgesagt 6 958]

Цитата

Гейм-дизайнер из Sony Santa Monica создал копье для Hoizon Zero Dawn

На мероприятии Reboot Develop один из основателей и управляющий директор студии Guerrilla Games Хермен Хюльст (Hermen Hulst) поделился занятной историей о разработке Horizon Zero Dawn.

Дважды в год Sony Santa Monica и Guerrilla Games ненадолго обмениваются перспективными сотрудниками. У людей появляется возможность посетить другую страну (Guerrilla Games находится в Голландии, Sony Santa Monica – в США) и получить ценный опыт. 

В ходе одного из таких обменов геймдизайнер God of War, отвечавший за проработку боевой механики и хорошо разбирающийся в реализации оружия ближнего боя, получил возможность немного поработать над Horizon Zero Dawn. 

Специалист предложил, чтобы основным оружием ближнего боя главной героини Horizon было копьё, а Хюльст попросил его сделать наброски этого элемента механики. 

Потом идею представили руководителям разработки Horizon, и она им понравилась. В итоге, копьё стало основным оружием ближнего боя и одним из важных составляющих механики Horizon.

 

Вангую 20 млн. 

[Maudlin Kayodot 7 645]

20 миллионов - это фантастика, а вот 14 - вполне может быть. 

Изменено 14 апреля, 2019 пользователем Maudlin Kayodot

[Kurzgesagt 6 958]

1 час назад, Maudlin Kayodot сказал:

20 миллионов - это фантастика, а вот 14 - вполне может быть. 

Вот и посмотрим.

[Maudlin Kayodot 7 645]

Только что, Kurzgesagt сказал:

Вот и посмотрим.