Video games

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  • Xbox Insider Release Notes –Alpha Ring (2006.200529-2110)
    on June 1, 2020 at 6:09 pm

    Hey Alpha ring users! Today’s Xbox Insider Release Notes highlight the latest fixes, known issues, and features coming to your console. Starting at 2 p.m. PT today, users will receive the latest 2006 Xbox One system update (build: RS_XBOX_RELEASE_2006\19041.3011.200529-2110). Keep reading for more details. System Update Details: OS version released: RS_XBOX_RELEASE_2006\19041.3011.200529-2110 Available: 2 p.m. PT

  • Xbox Insider Release Notes – Alpha Skip-Ahead Ring (2007.200529-0000)
    on June 1, 2020 at 6:03 pm

    Hey Alpha Skip-Ahead ring users! Today’s Xbox Insider Release Notes highlight the latest fixes, known issues, and features coming to your console. Starting at 2 p.m. PT today, users will receive the latest 2007 Xbox One system update (build: RS_XBOX_RELEASE_2007\19041.3299.200529-0000). Keep reading for more details. System Update Details: OS version released: RS_XBOX_RELEASE_2007\19041.3299.200529-0000 Available: 2 p.m.

  • This Week on Xbox: May 29, 2020
    on May 29, 2020 at 9:00 pm

    We know you’re busy and might miss out on all the exciting things we’re talking about on Xbox Wire every week. If you’ve got a few minutes, we can help remedy that. We’ve pared down the past week’s news into one easy-to-digest article for all things Xbox! Or, if you’d rather watch than read, you

  • Bug Fables: The Everlasting Sapling Available Today on Xbox One
    by José Fernando Gracia, Bug Fables: The Everlasting Sapling on May 29, 2020 at 7:00 pm

    Bug Fables’ debut on Xbox One is here! We’ve worked hard for many years to make this love letter to RPGs, and reaching this milestone is a childhood dream come true! The support that let us push through Throughout development, we constantly posted updates. Our first demo was harshly critiqued, but we took the feedback

  • Georifters: Embark on Ground-Bending Adventures Today on Xbox One
    by Solomon Temowo, Project Director/CEO, Georifters on May 29, 2020 at 6:00 pm

    Almost three years ago, we started working on a game about five bubble worlds that accidentally become connected. Previously living in isolation, their inhabitants struggle to accept and understand each other’s differences and must come together to fight for a greater good. Very early in the development process, we were intrigued by the idea of

  • Splatoon's Squid Kids Comedy Show Manga Is Being Localised This July
    on June 2, 2020 at 7:05 am

    Based on Splatoon 2's characters and designs.Splatoon might only be up to its second game, but it's already become an insanely popular first-party series for Nintendo. As a result of this, the Japanese video game giant is eager to build on its success with clothing, toys and even manga.Read the full article on nintendolife.com

  • Legal Crackdown On Mario 64 PC Port Not Enough To Stop Modders From Improving It
    on June 2, 2020 at 6:15 am

    And download links are still circulating online.Despite Nintendo's crackdown last month on the Super Mario 64 PC port, it's reportedly not been enough to stop the project from being improved upon.Read the full article on nintendolife.com

  • DAL's Item Services Don't Appear To Be Available On Mystery Island Tours In Animal Crossing: New Horizons
    on June 2, 2020 at 5:15 am

    Nice idea, wrong island.It's the start of a new month, and that means new features have been unlocked in Animal Crossing: New Horizons. While we've heard about wedding season and the new seasonal items, there's apparently another feature that might have been overlooked in recent times - which was first spotted in a Version 1.2.0 datamine. We're referring to the fact Dodo Airlines (DAL) now offers item delivery and liquidation services.Read the full article on nintendolife.com

  • Hungry For Some Resident Evil Action On Your Switch? Then Check Out These Super eShop Savings
    on June 2, 2020 at 2:30 am

    Up to 60% off.Capcom has taken another bite out of its Resident Evil prices on the Switch eShop, reducing the mainline games in the series by up to 60%. These current offers apply to both the US and UK and will be available until 18th June.Keep in mind, the standard price per game is normally $29.99 / £29.99. That means you can get two games for the price of one. Buying the whole lot is also obviously much cheaper than it normally would be.Read the full article on nintendolife.com

  • Bandai Namco Joins The Party With Its Very Own Amazon France Switch Listing
    on June 2, 2020 at 1:05 am

    Another mystery game appears online.Believe it or not, but Amazon France is still posting listings online for upcoming Nintendo Switch titles.Read the full article on nintendolife.com

  • Our Support For The Family Of George Floyd, Our City, And Nation
    by Game Informer Staff on June 1, 2020 at 10:11 pm

    As a Twin Cities company, Game Informer is devastated by the events of the last week. We are reeling from the gruesome and unjust death of George Floyd. We offer our condolences to the family and loved ones of George Floyd, and support to the countless other members of the Black community around the country whose pain and loss goes undocumented or unresolved.   Gaming can often act as an escape from the troubles of real life, but for many families, there is no escape from persecution, harassment, and the threat of death. Systemic racism has no place in gaming or in our society. #BlackLivesMatter

  • Sony Postpones PlayStation 5 Presentation
    by Matthew Kato on June 1, 2020 at 7:30 pm

    Sony has decided to postpone its PlayStation 5 showcase indefinitely after the recent events in the killing of George Floyd. pic.twitter.com/ZAY8StN0EU — PlayStation (@PlayStation) June 1, 2020 The showcase was originally planned for this Thursday, June 4, and was expected to feature a number of PlayStation 5 games and perhaps even more info on the holiday system's pricing. Join us Thursday, June 4 at 1:00pm Pacific time for a look at the future of gaming on PlayStation 5: https://t.co/Yr8fafcOVd #PS5 pic.twitter.com/F0yBbDmOtC — PlayStation (@PlayStation) May 29, 2020 [Source: Sony]

  • Pokémon Trading Card Game Announces Battle Academy Board Game
    by Brian Shea on June 1, 2020 at 4:52 pm

    The Pokémon Company has announced the first-ever board game adaptation of the Pokémon Trading Card Game. Pokémon Trading Card Game Battle Academy delivers a modified version of the TCG in the form of an easy-to-learn, 30-minute board game meant for two players.  When you pick up the Battle Academy box, you receive the two-player board game, three 60-card decks, tutorial guides, and various gameplay accessories. The cards and accessories included in the Pokémon Trading Card Battle Academy box are fully compatible with the standard Pokémon Trading Card products. The set also includes digital codes for the Pokémon Trading Card Game Online on PC, iOS, and Android. Click image thumbnails to view larger version                                                                                                               The Pokémon Trading Card Game Battle Academy board game releases June 21 exclusively at Target in the US, with a worldwide release set for July 31. 

  • The Last Of Us Part II Interview – Adding Depth, Staying Grounded, And The Cost Of Revenge
    by Joe Juba on June 1, 2020 at 1:00 pm

    Publisher: Sony Interactive Entertainment Developer: Naughty Dog Release: June 19, 2020 Platform: PlayStation 4 The Last of Us Part II is set in a post-apocalyptic world in which a mutated fungus has turned most of humanity into creatures called Infected. That premise may sound like familiar zombie fiction, but anyone who played the original can tell you that developer Naughty Dog has elevated the world of The Last of Us beyond easy genre classification. The story of Joel and Ellie was emotionally complex and raised ethical questions with no easy answers , and that doesn't appear to be changing for The Last of Us Part II. In advance of the sequel's impending June 19 release, we talked to creative director Neil Druckmann about how Ellie is evolving, being grounded versus realistic, and creating a believable world for players to explore.  Click here to watch embedded media GI: One of the earliest details about the story you revealed was that Ellie is on a quest for revenge. What do you see as the most fertile ground to explore within the themes of a revenge story? Druckmann: When we started work on the game, there was an excitement to make Ellie the protagonist and to explore her character further – in the same way that I’m sure the people who worked on Breaking Bad were excited to explore Walter White for many years. We started with this girl who was so innocent in the first game, and we know this world is one that makes you make choices. As a survivor, you lose some of that innocence, shed it, evolve, and change. To take that further was exciting. We played with ideas that were interesting from a plot standpoint, but never quite captured that emotional pull that we thought made that first game special. So then it was like, “Do we want to go back to this world if we don’t have that emotional pull?” We were starting to really debate that until we landed on this idea that felt like, “Oh my god, that’s almost like a mirror image. A mirror theme of what we had in the first game.” The first game was so much about love – can we, through the experience of a video game, get you to start with these two character who don’t quite like each other, and by the end of it, you get to feel the unconditional love that a parent feels for their child? And you understand how far that love can go, both in its beautiful aspects, and its very dark and almost insane aspects. So you understand why Joel does what he does. In [The Last of Us Part II], it’s almost a similar question. How far would you go for love? Except the setup now is that the person you love has been hurt badly, and how far are you willing to go to bring the people responsible to justice? The motivation is still love. And when you look around the world, it’s stuck in this cycle of violence because the people they care about got hurt. And what do they do to the other side? How do they dehumanize then? How do they attack them? That all felt like fertile ground that raises the interesting philosophical questions that we had with the first game. It was like, “There’s the core. That’s the thing we’ve been missing. Now we can hang the whole story around this core idea.” Revenge stories usually follow a formula – an inciting event, followed by going down the checklist of people along the way, and then a final confrontation. Do you think the established formula makes it harder or easier to surprise players? You’re kind of describing genre, and almost every genre has already been told. Every kind of story has been told. When people say, “I’m telling a genre story,” that genre has been told a lot. There are certain tropes to it, and I think as a writer, it’s important to have an author’s knowledge of that genre – of all the different things that can exist in that genre. Sometimes, a revenge story can be a power fantasy, and you see the people who wrong the protagonist at the beginning of the game or movie or book, and it’s about the thrill of bringing those people to justice. The certain satisfaction, the cathartic release that happens. And then there are ones – with maybe a more nuanced approach – that say, “There’s a cost to this. When you go and hurt someone else, even if you’re in the right, it takes something away from you.” There’s a primitive part of our brain that wants to tip into that, but whether through society or evolution, we suppress it so we can live normal lives. I think if you give into that, sometimes it changes you irreparably … and then to make a character-driven experience where every mechanic that we’re building puts you the shoes of Ellie and you feel the evolution of that character as she becomes more lethal, but also as she’s losing more of her innocence, it begins to affect not only her, but the people around her. Click here to watch embedded media From a storytelling perspective, how often do you struggle with what needs to happen in service to the story, versus what you want to happen? Like, do you ever just want to give Ellie or Joel a break? I think that wouldn’t be The Last of Us if people just got a break. That’s not what the story really explores. It explores the beauty of relationships, and the horror of relationships. It deals with the bonds that get formed, and relationships that fall apart, whether that’s through injury, death, or people just growing apart. Those are kind of what’s ripe for exploration with The Last of Us. But how do you explore all those facets and philosophical questions? I think what made the first game successful was that it presents ideas, and the characters have strong feelings about those ideas – or dilemmas – but the story doesn’t. The story doesn’t judge; it doesn’t say Joel was right or wrong.  Joel feels righteous. I’m sure the Fireflies feel like he wasn’t. Likewise in this game, Ellie feels righteous, but I’m sure the people she’s doing this stuff to don’t agree. So much of the story is about empathy and trauma. And sometimes feelings that are unique to video games, like guilt and shame – can we make you experience those things through the actions you are taking part in? You are complicit in what’s going on in the story when you’re taking part in it. And that became exciting, like, “How far can we push those ideas?” Can we push the wall of the kind of story we tell at Naughty Dog, but even as an industry? If we can pull it off, it will feel like something I have never experienced in a story, and especially in a video game. It could be something really special. You’re telling a story, but you’re also making a game that people play. That means players might see a disturbing and brutal cinematic one minute, and the next they’re scrolling through skill trees spending medical supplements to buy skills. How do you approach that tension between game elements and story elements? That’s where it’s important early on to establish: What is the vision for this thing? We knew we wanted to put you in the shoes of Ellie and take you on this really long journey where each death has weight and consequence … Exploration has meaning to it … And then one of the things with The Last of Us more than other games we’ve done is that it needs to be grounded – despite there being Infected and the state of the world. How can we make you feel like a character is like someone you know? That doesn’t always mean realism, one-to-one. Like, you’re describing mechanics that don’t exist in the real world – crafting things, leveling up and improving attributes. But what those systems do is they make you feel the growth of Ellie as a capable killer, which speaks to the story. Sometimes you’ll give up realism for the sake of getting a certain feeling. Something I’ve discussed in the past is: With Ellie’s size, it’s not realistic that she could take on as many people as she does. We want every encounter to feel engaging, and make the enemies feel smart – but the reason we have the numbers we do is because it creates a certain feeling of survival and tension. If we were to lower the numbers, you wouldn’t get the same feeling. So we’re sacrificing some realism for authenticity of feeling. So, once you define those constraints – I have the privilege of working with some of the most talented people in the industry, and they are constantly coming up with great ideas. Often, we have more ideas than we can fit in a game; you have five people coming up with five ideas that are all great on their own. Sometimes you might not go with the greatest idea – you need to go with the idea that’s most appropriate for the game. So once the vision is well-defined, people can go off on their own and come with ideas they think is appropriate for the game. And that’s kind of the beauty of video games – it’s such a collaborative medium, it becomes greater than any one person’s contribution. And we’re all working with the same goal of achieving a particular feeling. Click image thumbnails to view larger version                                                                                                               The places players explore, like shops and restaurants, are incredibly detailed and unique. Can you walk me through the process of creating an area? We first come up with the structure of the game, the core story idea. And then we start putting notecards up on the wall representing each section or level – whatever term you want to use. Then we break down what is happening narratively in the scene. How is the character changing? Every part needs to evolve and take us toward the end – no part should just exist because it’s cool. We want cool ideas! But they have to work toward what we’re trying to move forward. If they’re just cool for the sake of being cool, that’s the first card that gets tossed. For example, when you first reach Seattle, we want Ellie to feel a little frustrated, a little lost. We do that by – based on stuff we did with Uncharted 4 and Lost Legacy that let us play with a much bigger level size than we have in the past – we create a really large space. We put you in downtown Seattle. You don’t know where to go. The character doesn’t know where to go. We want you to feel lost and start moving around. Again, authenticity is what’s going to help immerse you. If you’re moving through a space that doesn’t look good, that doesn’t look believable, it’s going to pull you out of the experience. The art team traveled many times to Seattle to study architecture, the materials, the vegetation that grows in that part of the country. That kind of detail is going to immerse you in the world. Likewise, our tech team has to find a way to optimize it on the PS4, because again, if the level of detail drops because the area is big, that takes you out of the experience. Everything is in service to put in you that place, evoke a certain emotion, and put you on a journey with Ellie. You’ve previously mentioned the Last of Us Part II broadening its narrative focus beyond Joel and Ellie. When you look at The Last of Us as a property or franchise, how much do you see it as the focused story of particular characters, and how much is about the world they inhabit? Yes. [Laughs] Meaning, when we finish a game, our process is to look at every idea on the table. It might be an idea for a sequel [to that game]. It might be an idea for a sequel to an old franchise we haven’t touched in a while. It might be ideas for new IP. Everything gets explored, and we exhaust all of the ideas, because you’re going to go on this journey for many, many years. You want to make sure you pick something you’re really excited by, because four years into it, you’d better be as excited as you were at the beginning. Otherwise, if it’s something you’re ho-hum about, players are going to feel that. They’re going to feel your lack of excitement. So, for The Last of Us Part II, it was exciting to come back to Ellie and explore more facets, more dimension to this character. Other ideas that didn’t have Ellie and Joel became less interesting – building characters from scratch or going to another part of the world. We talked about them. They just weren’t as exciting … But there were a lot of questions early on, like, “What is The Last of Us? Is it Joel and Ellie? Is it a particular set of themes?” We knew we wanted to continue the journey of Joel and Ellie pretty early on, and then you need themes with an emotional core to ask philosophical questions – that became another pillar. The other thing we said was that we want to explore factions and how different people survive. Now we’re 25 years after the outbreak – what are they doing to form societies? And how do those societies speak to the high-level theme? Here we’re dealing with a cycle of violence, which is why we’ve crafted the WLF and Seraphites – groups that are locked in this everlasting conflict trying to reclaim Seattle … Everything has to speak to these high-level themes. And there’s just the Naughty Dog value: We want to challenge ourselves. We want to tell stories that we’ve never told before. We want to push the boundaries of the technology. We want to figure out pipelines of how to build games more efficiently. And – this shouldn’t be controversial, but it is – we want to have a diverse cast of characters that reflects the world we live in and helps us tell more unique, interesting stories. Those are things we value that come back into the game as well. Click here to watch embedded media The original Last of Us enjoyed pretty widespread acclaim, but it wasn’t without criticism. Was there a particular piece of feedback from the first game you wanted to be sure to address for the sequel? Pallets and ladders. We knew even when we were working on the [first] game that we wanted a wider breadth of mechanics, and we wanted those mechanics to go deeper. That’s one of the challenges we set for ourselves for this game. The challenge there is that The Last of Us isn’t a sci-fi world where you can have a gravity gun or grappling hook or something that is easily marketable, like, “Here is the brand-new feature.” So it’s really the sum of the parts. Going prone might seem simple on paper, but with the fidelity we have, how intricate the layouts and art are, and with all the mechanics Ellie can do while prone, it’s a hugely complicated system to look as good as it does and be as effective as it is. Likewise, adding grass that looks good, as well as the effect it has – you’re also not completely hidden, so it’s the idea of analogue stealth –  creates a level of tension that would be different if it was black or white, hidden or not. Which again, is a complicated system. Redoing our A.I. where they have vision and hearing. Every person has a name, every person has a heartbeat that is being tracked, which affects their audio cues – they might breathe harder or shout more. They have an emotional state that can change if you kill their friend next to them. Again, it’s a lot of small – “small” – things that, when you play it, hopefully you’re feeling much greater tension. Because Ellie can jump, climb, and we have better physics, the puzzles become more interesting. The exploration becomes more interesting. All of that, again, is done in service to putting you in the world, giving you more variety, and giving you more depth of mechanics. You mentioned marketable features. Let’s say we lived in a world where it wasn’t necessary to have things like trailers and gameplay demos prior to release. Would you prefer to just set a date and launch the game, or is it fun to build the mystery? I’m trying to imagine a reality where you don’t have to market your game. [Laughs] I think I have a pretty good imagination, but that’s a really hard one. I think there’s something that is exciting, especially when you work on something for so long and you have to be secretive, about moments where you’re like, “Okay, we’re going to show some of the game.” There’s something different about internal deadlines and external ones. External deadlines, you know the public is going to see it, and this pressure starts building. All of sudden, you’re making all these calls; you might have been doing all this exploration, and it helps you just lock some of the game down. When people react positively, with conversations and excitement around it, you can just feel that energy on the team. You walk around and you can feel it from people, “We’re doing the right thing. This thing that has been super-challenging that we might have had doubts about, it feels like it’s clicking and starting to work.” Those are things that would be hard to give up. But there’s something nice about trying to preserve the experience. That’s the push and pull: Trying to reveal as much possible without spoiling the final experience. But at the end of the day, nothing can spoil actually getting your hands on the controller, playing as Ellie, hearing the dialogue, seeing how the mechanics are adding to the tension of the world, and experiencing those beats. For more on The Last of Us Part II, read our impressions from two hours of hands-on time with the final version of the game.

  • 15 Things I Learned From Two Hours Playing The Last Of Us Part II
    by Joe Juba on June 1, 2020 at 1:00 pm

    Publisher: Sony Interactive Entertainment Developer: Naughty Dog Release: June 19, 2020 Platform: PlayStation 4 After years of waiting (and a couple recent delays), The Last of Us Part II will finally release in a few short weeks. Though Game Informer has its review copy in hand, we’re still limited in how much of the experience we can discuss. For now, we can give spoiler-free impressions based on a two-hour stretch that concludes with Ellie infiltrating a hospital in Seattle – the focus of Naughty Dog’s State of Play demonstration last week. Instead of running through this sequence step by step, I’m going to share an eclectic selection of my thoughts during these two hours. Encompassing details I found helpful, interesting, and amusing, here are 15 things that stood out to me in this specific section of The Last of Us Part II. Click here to watch embedded media 1. Ellie is angry. While she’s still recognizable as the character from the original game, it’s clear that her quest for revenge is taking a toll on her. As a small example: I made Ellie stealthily assassinate a patrolling Washington Liberation Front (WLF) soldier, and though he had done her no specific wrong, she spat a disgusted “F---er” at him as he died. 2. Ellie can be funny. Though the tone is generally pretty grim, Ellie occasionally says some entertaining things while talking to herself. After trying an improbable (but effective) puzzle solution, she congratulates herself with, “That was pretty smart, Ellie.” After a harrowing sequence that has one thing after another going wrong, she finally catches her breath and says, “F--- Seattle.” 3. Stealth is satisfying. I enjoyed the original The Last of Us, but it seemed like most encounters were destined to become firefights; though going full stealth was possible, the limited options meant that I would usually end up alerting the bad guys eventually. In The Last of Us Part II, it seems more feasible to remain undetected through an encounter. One part has Ellie evading Scars – a faction at war with the WLF – through a park. By staying low in the grass, using stealth kills, and wielding quiet weapons like my bow and silenced pistol, I was able to take out all of them without being detected. 4. The "Survivor" difficulty is available for your first playthrough. It's appropriately brutal. 5. Difficulty is highly customizable. I played through the hospital infiltration on a few different challenge settings, and the gulf between them is noticeable. However, you aren’t bound to defined modes like easy, normal, or hard; you can also fine-tune specific elements of the experience, like how much damage Ellie takes, how perceptive enemies are, and how plentiful resources are in the world. Click image thumbnails to view larger version                                                                                                               6. Being thorough pays off. As I advanced through Seattle, I saw a handful of places off the critical path, like a liquor store and an apartment complex. Exploring these spots carries some risk, since they can be full of Infected or other humans. But they also give rewards in terms of gameplay and side stories. In the liquor store, I learned the Infected there were once WLF soldiers looking for a group of deserters. In an apartment, I found that group of deserters, along with a rare manual that unlocked a new skill tree to improve Ellie’s explosives. 7. Locked doors don’t mean you can’t get in. To gain access to one apartment, I just needed to break a window and jump in to circumvent the locked door … but it’s not always that easy. In a conference center, I saw a bunch of ammo and upgrade parts sitting on a table in a seemingly inaccessible room. I won’t spoil the full solution, but getting in there involved using the environment and the objects Ellie finds around her. 8. The environments are incredibly detailed. Places like the apartments, liquor store, and conference center don’t just feel like they are copied and pasted from a bank of assets. It’s not just about looking good graphically; each one feels like a considered space that once served its purpose in the world. From decorations on the walls of a bedroom to the desk arrangements in an office space, Ellie’s surroundings feel authentic. They don't feel like areas created to fill space in a video game.   9. Stalkers are just the worst. As in the previous game, these Infected are difficult to detect as they attempt to sneak up on Ellie, and the tension is terrifying. In one memorable section on the way to the hospital, Ellie needs to cross a series of rooms full of these brutal hunters. Though I successfully maintained stealth past several of them, a shrieking Stalker eventually jumped me and alerted its friends, which triggered a panicked frenzy of gunfire from me that ended with a pile of dead Stalkers and a shortage of shotgun shells. 10. The accessibility options are broad. They include a wide array of adjustments you can make to the visuals and gameplay. Colorblind mode, HUD magnification, remapping controls, and infinite breath while swimming are just a handful of options that illustrate how Naughty Dog has kept players with disabilities in mind. Click here to watch embedded media 11. Transitions are relatively seamless. The actions flows smoothly between cutscenes and player-controlled sections, without lots of load screens breaking up the action. For example, I watched a cinematic sequence of Ellie being tossed around underwater, and when she emerged, I was back in control. The only obvious loading screens I remember seeing were when I died and had to respawn, and when I was saving or loading my game. 12. You can have 20 manual save slots. Plus one autosave. 13. The personal touches work. Most video games don’t ask you to think twice about killing dozens of gun-toting guards, but The Last of Us Part II makes the violence feel personal. Beyond the fact that all of the enemies can call out to each other by name (along with their dogs), they also have interactions with each other that hint at their lives beyond being an obstacle to Ellie. Right outside the hospital, I catch two guards in mid-conversation as they walk by. “I got my girl waiting for me at the FOB,” the first one says. The second replies, “Are you s----ing me? They put you with Jo again?” They keep chatting as they pass, but it’s hard not to think about Jo and her reaction as I sneak up on her partner with my knife drawn. 14. Killing dogs is rough. They don’t feel like the mindlessly aggressive animals that players often encounter in other games; they feel like someone’s pet. My approach to the hospital was definitely made more complicated by my reluctance to kill a dog named Bear who was patrolling there. 15. This isn’t all. Obviously, a lot of the context that informs this whole two-hour sequence is missing here, especially since it’s set partway through the game. But even if we could talk about story stuff now, we wouldn’t want to. The less you know now, the more you will enjoy the experience when you’re playing it for yourself on June 19. For more on The Last of Us Part II, check out our interview with creative director Neil Druckmann, then read this spoiler-free overview of the game.

  • assassin's creed 1 to valhalla
    by /u/mohsinshahbaz22 on June 2, 2020 at 8:11 am

    submitted by /u/mohsinshahbaz22 [link] [comments]

  • What age is too old for you to have the guys over for gaming night
    by /u/seagull-memes on June 2, 2020 at 2:43 am

    View Poll submitted by /u/seagull-memes [link] [comments]

  • Favorite Generic JRPG Bosses?
    by /u/runaskyewright on June 2, 2020 at 2:17 am

    submitted by /u/runaskyewright [link] [comments]

  • WARZONE
    by /u/Nonatheman on June 2, 2020 at 1:49 am

    It’s been a crazy day... this morning and this afternoon was a real struggle. All the helicopters... so much looting... death... I Almost felt like giving up. But you know what you guys, my buddy and I finally got a Win on duos submitted by /u/Nonatheman [link] [comments]

  • Fixing my Gaming Attitude
    by /u/AwesomeNess693 on June 2, 2020 at 1:11 am

    Idk if this is where I should post, but I’ve been getting this feeling a lot especially in online games: Recently I’ve been raging on games a lot and I wanna try and fix that. Because when I rage I break things and when I break things, I have to pay to replace broken controllers. It just feels like everyone is out to personally get me and idk why. Any ideas on how I can fix this? submitted by /u/AwesomeNess693 [link] [comments]