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PS4/PC God of War

Benutzer, welche sich diesen Thread anschauen:

Schon klar das es ein Reboot is.
Aber auch hier stellt sich (mir) die Frage, warum unbedingt ein God of War Reboot und kein neues Franchise?

Kommt irgendwie schon so rüber, dass sie meinen es muss die bekannte Marke God of War draufstehen, damit es die Leute anspricht.
Wie @ABIB sagt, hat da z.B ND mehr "Vertrauen" in sich mal was Neues zu machen.
 
Ich denke, es ist offensichtlich, dass er damit die Bekanntheit und "Größe" von AC als Franchise meint.

Ja aber wir wissen ja, was große Entwickler/Publisher gerne tun, um große Verkaufszahlen zu erreichen - wie ich oben auch angemerkt habe. Mutig werden sie in den meisten Fällen nicht. Da verlässt man sich dann oft lieber mehr auf die Marktanalysen, als auf die kreativen Gamedesigner.



Crafting und Upgrades muss ja noch nichts Schlechtes bedeuten. Solange man in einem Action Slasher nicht plötzlich irgendwelche belanglosen Nebenquests machen muss, eine Open World serviert bekommt und Dinge sammelt, ist alles cool. Wenn Crafting bedeutet, dass die Gegner, im Laufe der Story, halt Material fallen lassen, wo man sich dann entscheiden muss, was man daraus macht, um seinen Spielstil zu individualisieren (also ein Genre übliches, erweitertes Upgrade System), dann ist alles OK.


Santa Monica scheint ja wirklich sehr an der Reihe zu hängen, wenn sie nicht von sich aus ein neues Franchise starten, sondern unbedingt God of War für diese Neuausrichtung heranziehen wollten. Das unterscheidet sie dann doch noch von Naughty Dog, die ja immer wiedermal mit einem komplett neuen Szenario um die Ecke gekommen sind (Crash, Jak&Daxter, Uncharted, The Last of Us). Birgt natürlich auch die Gefahr, dass man da die Akzeptanz der alten Fangemeinde verliert.

Na ja, scheinbar wollte man die Reihe ja eh zu Grabe tragen...

After Ascension it was hard to get the higher ups to sign off onto another God of War game, they were pretty much done with the franchise, Cory had to pitch something great and fresh in order to get the game greenlit.


Aber ich sehe es gelassen. Wenn es scheiße wird, gibts dieses Jahr immer noch Bayonetta 3 :D
 
Crafting und Upgrades muss ja noch nichts Schlechtes bedeuten. Solange man in einem Action Slasher nicht plötzlich irgendwelche belanglosen Nebenquests machen muss, eine Open World serviert bekommt und Dinge sammelt, ist alles cool. Wenn Crafting bedeutet, dass die Gegner, im Laufe der Story, halt Material fallen lassen, wo man sich dann entscheiden muss, was man daraus macht, um seinen Spielstil zu individualisieren (also ein Genre übliches, erweitertes Upgrade System), dann ist alles OK.

die Nebenquests scheints ja schon mal zu geben (auch wenn sie die Entwickler anders nennen :roll: ), ob sie belanglos sind kann man natürlich noch nicht sagen.
 
die Nebenquests scheints ja schon mal zu geben (auch wenn sie die Entwickler anders nennen :roll: ), ob sie belanglos sind kann man natürlich noch nicht sagen.

Finde ich fürs Genre zwar absolut unpassend, da ich mir hier eine lineare, durchinszenierte Spielführung mit hervorragendem Pacing erwarte aber gut, wenn sie nicht stören bzw. wenn man sie bei Nichtgefallen problemlos überspringen kann (wie zB zuletzt bei Wolfenstein 2, wo sie auch scheiße waren aber man absolut nichts verpasste, außer gestreckte Spielzeit, wenn man sie nicht beachtete) dann soll es so sein. Bin gespannt aber klingt erstmal nicht so geil.
 
Was man sich grad beim Gameplay aufregt verstehe ich nicht.
GoW war in dem Punkt von Anfang bis Ende eine Gurke.

Warum muss man GoW als Namen behalten? Warum muss man Resident Evil als Namen halten?
Weil Namen halt ziehen und sich die Games so eher verkaufen. Mario lässt grüßen.

Der Name der IP ist auch nicht das Problem... Der geht noch immer wenn man jetzt von Zeus zu Odin und co hüpft.
Hätte es Kratos sein müssen? Nicht unbedingt aber wer weiß evtl. will man Kratos eh sterben lassen und deshalb sein Sohn.

Mir um ehrlich zu sein egal was sie machen ich will wesen aus der Mythologie zu Hackfleisch verarbeiten, geile Grafik und hoffentlich mal ein etwas interessanteres Kampfsystem.
Das Wort Quest scheint einige mehr zu treffen als nötig.Kann aktuell noch alles bedeuten von Zusätzlichen Herausforderungen bis hin zu Pflanzen pflücken.

Ich glaub as hat schon seine Gründe warum wir von GoW wenig zu sehen bekommen. Das wird sicher nicht daran liegen dass das Game so unfertig und man nichts zu zeigen hat. Sehts mal positiv wenn sie es verkacken war es das mit GoW und ihr bekommt ne neue IP von SSM.
 
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The Pitch For Reimagining God Of War
While visiting the studio, we spoke with Barlog and Studstill about reimagining God of War and how much they were willing to change up the classic formula in order to breathe new life into the series.

Watch the video below to learn other mythologies the team might want to explore in the future, why they didn't make an open-world game, and much more.
Video-Interview im Link: http://www.gameinformer.com/b/features/archive/2018/01/08/the-pitch-for-reimagining-god-of-war.aspx
 
Was man sich grad beim Gameplay aufregt verstehe ich nicht.
GoW war in dem Punkt von Anfang bis Ende eine Gurke.

Dann hast du aber noch nie ne Gameplay-Gurke gespielt. Gow hatte nie einen Gameplay Fokus wie Ninja Gaiden oder Souls, aber das Hack'n Slay haben sie wiederbelebt und bis auf den Ascension Teil immer auch dem Genre gemäß top umgesetzt.
 
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Cory auf die Frage hin ob man überlegt hätte Open World zu gehen...

Cory Barlog schrieb:
I was playing some open world games and I was feeling a lot of fatigue in a sense that open world games feel like homework to me.

Guter Mann. Den stört an den Open World Games, was mich auch stört. Er wollte God of War mehr in der Richtung von Shadow of the Colossus und dem Tomb Raider Reboot haben, wenn es um die Welt geht, sprich das Gefühl einer größeren Welt nur vorgaukeln, ohne full Open World zu gehen und den Spieler mit Checklists, Markern und "a thousand things to do" zu erschlagen. Seine Intention war es ein Spiel mit starker Narration, Konzentration auf ein paar wesentliche Dinge und mit geschliffenen Mechaniken abzuliefern.

Weil sich hier im Thread bereits über die fehlende Sprung-Funktion beschwert wurde: Das Springen wurde deshalb entfernt, weil das Spiel sehr intim werden soll und man daher auch eine sehr nahe Kameraperspektive gewählt hat, die ganz dicht am Geschehen ist und mit den typischen God of War Sprungeinlagen in Konflikt geraten wäre.

Das Interview hat meine Hoffnung in das Spiel allgemein wieder angehoben :dhoch:
 
The Secrets Of God Of War's Concept Art
http://www.gameinformer.com/b/features/archive/2018/01/10/god-of-war-concept-art.aspx
Cool video game concept art is fun to look at, but it can also be more than a pretty picture. It can provide insight into a game’s development, hinting at a studio’s ambitions and experiments at the time of its creation. Plus, concept art can also portray the last glimpse of plans that never came to fruition – pictures of what might have been.

All of this is certainly true for the new God of War’s concept art – but you wouldn’t know the details just by glancing at it. That’s why we talked to creative director Cory Barlog about a selection of pieces from various stages of the game’s development. He explains what the art depicts, as well as what it means for the game as a whole.
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This was done by the artist Jose Cabrera. We connected with him very early on; he had been doing illustrations for the Game of Thrones historical book. He did paintings that are rooted in military history and other facets of history, and his work is so amazing. We’d given him just a little bit – I talked to him over Skype and sent over a single-page document. Literally the first two illustrations he gave us – this and one other one – were the guiding principles for the whole game. He was just able to nail it almost immediately to give the feeling of what this world was, what this character was.

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This is the other piece Jose [Cabrera] did in the early stages, always continuing this concept of Kratos standing in between danger and the kid. That’s when I was like, “Oh, we should try white hair.” I was all over the map with what the kid would look like. It was casting Sunny [Suljic] and that made me say, “He should look exactly like this kid.” So we ended up scanning his face completely and using his model.

These were early iterations of draugr, talking about what the moods of these worlds would be. This feeling of always being in blizzard-level snow, which we then wanted to balance to make sure it wasn’t always “the snow game.” But I think even at this phase, we were playing around with the concept of bear skin and wolf skin – each of them having this reference point. Their base armor would contain this, so that we’d start building almost this children’s story of “a bear and a wolf wander the lands.”

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This was a paint-over/concept art for E3 2016. There’s so much we did in that playthrough that was custom just for that; we were going to redo it for the actual game, but didn’t want to give away certain things. This was actually very close to E3; we had to get this shot working because it was still needing a lot of work, and it just a couple weeks to E3. This was quite a panicked moment when we realized, “We need to change this. It’s not going to be right in the game.” It ended up not looking like that, actually.

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This is an area that has undergone a lot of iterations. This was in early discussions where we were talking about the fusion of architecture to the natural landscape. So instead of having freestanding architecture, people were carving into these places and creating massive chambers in mountains. And trying to find a level of detail and color along with blending it with the landscape. It took a long time.

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This is still early, so it felt very monochromatic, but it was about finding the architecture and the key touchstones for what the game’s shape language would be. I never realized how involved it was, that you’d have to dig into this. But also, concept artists just love to nerd out on actual architecture and little accents for everything. And we apparently love chains. Chains are everywhere.

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This is a space in the early portion of the game. This was the idea of being able to tell the story through the world and feel like it’s the layers of the world eroding and deteriorating – getting a sense of the history and how it’s been abandoned for so long. A big thing about this world is that there aren’t a lot of people around. The area that they’re in right now, people have kind of backed out of that space. The gods have been fighting for control of Midgard for quite a while, so it’s become abandoned and war-torn. That was important, because I really wanted the story to be about Kratos and Atreus. The fewer people that they meet, the better. So they are forced to deal with each other.

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These are early, early, early sketches just trying to understand scale, and again, how we can merge the natural with the architectural. And how much color we could involve. Just getting that blue in there was a big deal, because I think everybody was like, “We should stay more gray.” What we learned is: Don’t stay more gray. We had a lot of gray and brown everywhere, and we had a moment where we woke up and went, “Oh my gosh. The game is all gray and brown! We need color!”

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This is another E3 2016 inspiration image. There was an idea in E3 2016 that ended up not fully making it into the game, and that was having parts of the forest – or different forests – around Midgard actually illuminate in response to the characters. The idea was to make you wonder, “Is that responding to them? Are they making it happen? Is it simply just random?” It was a way to look at the world and make it feel both magical and alive. So we had a little section in E3 2016 that does this as they walk through, and it was very subtle, but I think in the end it was an idea that didn’t fully work out.

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The other piece that was about the erosion of the world – this is close to that same area. This was a battleground for me. There was a point where the artists didn’t want snow. I don’t know if they didn’t want snow because our snow shader was still not so great, so everybody seemed to be hedging away from it. And I was like, “More snow! It’s Scandanavia! It’s supposed to be cold and snowy!” But then they said, “But then it’s all white snow, and we don’t get any color,” so even then the color discussions were being had. This was a piece where I said, “Okay, there’s not that much snow,” so then they added that snow in the foreground. And I was like, “That’s what you’re going to add?!” I think we still have the struggles of, “More snow, but not too much snow.”

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This was a concept piece from our first playable. This was kind of a mood piece to set the tone. Our first playable, inside of it, had a little bit of what’s in E3 2016. It was actually a more prolonged experience of Kratos and Atreus going out hunting. They actually succeed the same way they do in the E3 2016 demo, and then we fast-forward time a little bit to show them having cooked deer, eating and talking and then continuing on their journey. It was the first time you would have seen Kratos eat. I think he drinks in the previous games, but doesn’t eat. We actually had him finishing off a piece of food, but now it will never be.

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This is another area that is close to the areas we talked about from early on in the game. It’s blending the sense of large creatures being part of the historical landscape as well. It’s not just architecture, but it really is just large creatures that have lived and fallen and died there. Which I thought is awesome. Reminds me of the Farscape episode with the Budong, which is the huge creature in space. And an entire city was built around there – mining inside of this large creature. It’s fantastic.

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Early on, we needed figure out how to keep people busy when we hadn’t actually written the script or figured out the levels of the game. So we had this idea to figure out how to do fun – “dungeons” was the only word I could attach to it – but areas that you could organically find, and figure out if there was a way to build these things where we could find sort of modules, but you never feel like what you’re seeing is modules. So the challenge to the artists was to create a modular interior space but that most people would never be able to tell that it was modular. So it contained things that were fairly non-uniform.

That was a very interesting experiment, because I knew so little about it that I stormed ignorantly forward. I had a lot of learning to do, and I realized, “Oh, they actually know more about this than I do – I’m going to let them go.” The way I was pushing them was just the first steps, and I think they steered it and went, “That’s good, but we’re going to do this, and that’s going to get you kind of what you’re looking for, but a lot better.”

This specific piece was an inspiration piece that gave rise to a bunch of pieces that ended up getting used in lots of different contexts around the world. It’s neat – nothing ever turns out the way you think it will.
 
Ich hype das Spiel noch viel mehr wenn Kratos in dem Teil wirklich richtig assi gekillt wird.
Zeigt Eier SSM. Gebt Kratos das Ende ohne Wiederkehr.

Den kleinen könnte ich mir in Agypten besser vorstellen als Kratos also why not xD
Wobei doch lieber ne neue IP pls. xD
 
Everything You Need To Know About Boats In God Of War
Many things are changing in the new God of War. Sony’s Santa Monica Studio is reimagining combat, moving to Norse mythology, and taking the narrative in a different direction. Those are the large-scale changes, but the game also explores new territory for Kratos in smaller ways, like having him traverse some of the Scandinavian wilderness by boat. Though this isn’t a revolutionary feature by video game standards, why boats are prominent in God of War – and how they enhance its storytelling – might surprise you.

Kratos and Atreus use boats for the same reason the rest of us do: They can’t swim where they want to go. Despite his limited experience exploring underwater in previous games, swimming is not part of Kratos’ repertoire in this God of War. Creative director, Cory Barlog, explains why: “As we started looking at, first, the crazy amount of investment for full 3D swimming to be awesome, and, second, to have a character follow you in in full 3D swimming, the programmers kept giving me that look.”

Ultimately, the team decided that its resources would be better spent in other areas, leaving swimming as a challenge to tackle in potential follow-up titles. However, Kratos and Atreus still needed a way to cross water. “I started investigating this idea of a big Viking longboat, and then realized you could really continue the narrative throughout,” Barlog says. “You can slow traversal down and you can change the pacing and interaction style and point of view. All while having these moments that you probably couldn’t get in any other situations.”
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So, if want to sail the seas, how do you get started? First of all, you won’t have to scan the coastline for long when you want one. They’re just always around when you might need them. As a result, Kratos and Atreus use a lot of different boats; you don’t have one special vessel, and you don’t earn any upgrades or improvements as your progress. It’s a more practical approach in which Kratos and Atreus just use what’s readily available.

Though traveling by boat is part of the journey, God of War does not wrap a bunch of extra mechanics around the process. “It’s not a sailing simulator,” Barlog says. “It’s not the focal point of the game. It is definitely one of those situations of traversal, the way you get a horse in The Last of Us. It’s just there – it’s not like you’re going around breeding horses or anything like that.”
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http://www.gameinformer.com/b/features/archive/2018/01/12/god-of-war-ps4-boat.aspx
 
Ob das die Edition ist, die die Spielegrotte schon vor einem halben Jahr für 200 Euro gelistet hatte (und die ich bis heute vorbestellt habe, man das Produkt aber nicht mehr anzeigen lassen kann auf deren Seite :ulgy: )?
 
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