Iron Banter – This Week In Destiny 2: Trials Of Osiris, The Anti-Traveler, And The Definitive Destiny

Just about every week brings something new to Destiny 2, whether it’s story beats, new activities, or interesting new combinations of elements that let players devastate each other in the Crucible. Iron Banter is our weekly look at what’s going on in the world of Destiny and a rundown of what’s drawing our attention across the solar system.

When Destiny 2 finally gained cross-save capabilities back in 2019, I was finally able to stop playing the game on PlayStation 4–where I’d been since the first day of Destiny–and hop over to PC, where my serious Destiny friends resided. That was around the time I also started to take the PvP aspect of Destiny 2 semi-seriously, and while I know that I’ll never be a great Crucible contender (I’m too damn old at this point and completely unwilling to put in practice time to improve), I’ve really enjoyed a stepped-up focus on the competitive aspect of the game.

That’s why the best news this week is Destiny 2’s new take on the Trials of Osiris. Sure, Savathun and Mara Sov said some more really cryptic, downright unsettling stuff about the threats we’re dealing with next year in Destiny 2, but it’s the Trials that are dominating my thoughts as we head into the third weekend of the Season of the Lost.

Trip To The Litehouse

I’ve always liked the concept of the Trials of Osiris, just like all the aspirational and endgame content in Destiny 2. Its requirement that you go “flawless” and win seven tough matches in a row, unlocking some of the game’s best rewards, is the kind of extra-special, cool experience that I associate alone with this game. For the people really invested in Destiny 2, this, like raids, is something that pays off your time in the game and your excitement for it with a one-of-a-kind gaming experience.

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But in practice, Trials has always been, at best, a pain in the ass for the vast majority of us Guardians. It’s an event that has traditionally been prohibitive for all but the very best players. Top-tier streamers, pro gamers, and all-around especially good Guardians have dominated the Trials, stomping on us lesser mortals every weekend. And that creates a feedback loop. No matter how sweaty I get, I’m not getting to the Lighthouse; it’s something I had to come to expect. So, for the most part, I quit playing Trials–and other players react like I do. The pool of Trials initiates gets smaller and smaller as it gets more and more frustrating a mode to take on, and that means you’re more and more likely to run into only the people who hang around: the best people. That increases the frustration, driving more players out. And so Trials became a playground for the absolute elite, a section of the game that was a waste of time for the rest of us.

Recent adjustments to Trials, which include dishing out rewards with weekly bounties and at different win tiers, have mitigated the frustration a bit. My team and I can at least reliably make our way to three or five wins before we bottom out, so we get something. But it still always felt like Trials was a mode where the rich get richer and the poor merely present themselves to make a broken, bloody staircase of Guardian corpses for the Flawless players to climb to more fun rewards.

With the new changes to the Trials of Osiris in Season of the Lost, everything is different–at least on paper. As of this writing, I won’t have had time to jump into the new Trials mode and actually try it out. But the list of alterations Bungie has made seem excellent. New matchmaking, new opportunities for solo play, new reward tiers, new Passages that no longer count losses; all of it means that the vast majority of Destiny 2 players have a reason to get into the mode again. The more the player pool expands, the more each of us regular Joe Crucible contenders actually has a shot at the Lighthouse, as we dilute the pool of ludicrously good folks with our mediocrity. That means the mode will be more fun for us to play, and we’ll be facing each other more of the time.

And overall, that’s great. Trials is a cool idea, but not if it drastically locks out most of the player base. And it doesn’t need to sacrifice what makes it special and super-tough–you still have to rack up seven wins with no losses to make it to the Lighthouse–to be something that everyone can enjoy. I’m hoping the changes work as well as it sounds like they should, and I’m hoping that a big influx of more players into the mode will actually mean that, sometimes, a miracle Flawless will happen. But if not, I’m content to at least pick up all the armor and a few nice great guns for my trouble.

Discovering The Darkness Daddy

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This week’s story content sent us to the Shattered Realm take on the moon, the excellently named Ruins of Wrath. The radio dialogue between Petra, Mara Sov, and Ikora this week, along with our visit to Savathun, continually pivots around a central idea: Xivu Arath answers to somebody else.

This is something that’s been swirling in the background since, like, Shadowkeep. Every time we’ve talked with the Darkness–be it in the Moon pyramid, on Io during the Season of Arrivals, on Europa as we gathered Stasis powers, and so on–there’s been the implication that there is a real, specific “entity” somewhere in the distance that we haven’t officially met yet. The Black Fleet of pyramid ships is some kind of manifestation of that creature, but pointedly, we discovered during Arrivals and afterward that those ships are empty. There’s no one inside to fight. The Black Fleet isn’t a one-to-one Darkness equivalent to the Traveler, it’s something else, and the Presage mission is all about how Calus was trying to make contact with this entity directly. As Osiris-as-Savathun says during that mission, the Darkness and the entity are separate things. (Meylin Games on YouTube has a good breakdown of the Presage clues.)

We haven’t seen whatever the entity is yet. But it sounds like that’s where we’re imminently headed.

It makes sense that, since we’re driving towards the eventual end of this Light and Darkness story arc in the next couple of years, that Bungie is starting to lean harder into establishing that villain in a practical sense. It also feels like this further adds to speculation a lot of people in the community have (including me) that Savathun might be antagonistic in The Witch Queen expansion, but not serve as its actual antagonist. We’re starting to lay down what the Darkness actually is so we can gear up to fight it.

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Okay, so what’s interesting about this is what was said about this Darkness entity, which I’ve been calling the Anti-Traveler just to give it a clearer name (Darkness Daddy also works). An ongoing thread this season is the apparent unification of Darkness forces that previously weren’t pals: the Taken and the Hive often work together, but now we’re seeing them also work with the Scorn, which is a new development. The Taken also previously were controlled by Savathun by way of Quria, but we (supposedly) killed Quria in the Season of the Splicer, and it seems the remaining Taken are now working for Xivu Arath. Finally, dialogue this week mentioned that Oryx, the Taken King, did not invent the Taken–he basically borrowed the power to create Taken creatures from the Darkness. Someone else, presumably, is actually in control of the Taken and has been loaning those creatures, and the ability to zap sentient beings into another dimension to turn them into whatever the Taken are, to characters such as Oryx and Quria.

That adds another degree of formidable to the Anti-Traveler and suggests the Taken will be the major antagonist force as we near the end of the saga. It also calls into question how the Hive’s powers work, or will work, especially after Savathun breaks free of her worm. And if you ask me, it provides more evidence for the theory that Savathun gets her Light from the Traveler.

So Bungie is currently teasing a badder antagonist than we’ve seen before, something on the level of the god-like Traveler, and is filling in the details of its abilities. But over and above that, we have what Savathun said last week, about something more than the conflict between the Light and Darkness. The characters and story here are spinning out, seemingly, two things we need to be worried about in the future. First, there’s the Anti-Traveler, the immediate Darkness threat that’s been building since the post-credits scene of Destiny 2. But second, there’s whatever Savathun was referring to–whether that’s the overall concept of Destiny 2 as a game itself, or a level of existence beyond the paracausal entities messing with us right now. But it sounds like more hints at what we could see of Destiny 2 once we’re past the last announced expansion, The Final Shape.

Anyway, the Anti-Traveler is coming. Wonder if it’ll look like those statues we’ve seen around the game so far, and what might be hidden under that black cloth on its head.

Oh, one last thing! Last week in the lore on the new Iron Banner armor, Saladin gives a passing thought to Savathun’s Song, that “viral chant” we’ve heard characters including Shaxx, Crow, Eris, and Lakshmi-2 singing, for a start. Just something that hasn’t come up in a while that seems like it might be super-relevant to the ongoing conversations we’re having with the Hive god of deceit.

Destiny’s Final Shape

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After Bungie’s Witch Queen showcase at the start of the Season of the Lost, I got to sit down and have a conversation with Destiny 2’s game director, Joe Blackburn, and its general manager, Justin Truman. We discussed a bunch of things both present and future in Destiny 2, including what they’re drawing on for inspiration with The Witch Queen, what playing against Hive Guardians will feel like, and how the developer is working to make more of Destiny 2 feel like its iconic content, such as raids and dungeons, and less like other first-person shooters.

There’s more from the conversation I’ll be publishing soon, but to start with, Blackburn and Truman’s explanations of what Bungie wants The Witch Queen to be like are compelling. Specifically, Blackburn said the team wants more of Destiny 2 in general to be more like the game’s best parts–missions such as Presage, as well as activities such as the dungeons and raids. The plan with The Witch Queen in particular is to make “the definitive Destiny campaign,” he said, which sounds pretty intriguing.

You can read the first of these pieces from the interview with Blackburn and Truman here, and I’ll hopefully have more from that conversation–maybe the entire conversation itself–in the coming days as well.

One thing I didn’t get a chance to talk about with Bungie was the 30th Anniversary celebration event the developer is putting out later this year. It has some specific meme intensity that I can’t ignore–a dungeon based on the Loot Cave from Destiny 1 (an element that is both hilarious and traumatic for me from the early days of covering the game) and the return of Gjallarhorn, Destiny’s most iconic gun. Darryn Bonthuys took a look at what makes the Gjallarhorn so special, which is a good primer for those Destiny fans who missed out on the gun back in the day. You might also want to dig into the lore about Gjallarhorn a bit in places like Ishtar Collective, as it’s one of those items that really feels like essential “Guardian history.”

That’s it for the Destiny stuff that’s buzzing in my brain this week. If there’s anything I missed, feel free to share it in the comments below.

Google Stadia Game Director Leaves to Join Google Cloud

Google Stadia director for games Jack Buser has left the company to work for Google Cloud. Buser will head up Cloud’s gaming arm as the new Director of Global Gaming Solutions, according to a new report from ZDNet.

Buser will begin his tenure at Cloud on September 13, where he’ll report directly to Google Cloud Vice President of Industry Solutions Lori Mitchell-Keller.

“Jack’s hire illustrates Google Cloud’s continued investment into our global, customer-first gaming strategy, and his five years at Google will help open doors for broader strategic partnerships with customers across YouTube, Stadia, and more,” Mitchell-Keller said in a statement to ZDNet. “Jack brings 20 years of experience within the industry as well as a unique blend of business and technical knowledge to further expand our ability to serve gaming customers.”

News of Buser’s departure from Stadia comes just a few months after Stadia’s Head of Product John Justice left the company, which happened just two days before it was revealed that six key Stadia staff members had left the company to join Haven Entertainment Studios.

Buser’s departure follows a string of departures likely spurred on by Stadia shutting down its internal game studios back in February, which reportedly happened in part because of the Microsoft-Bethesda acquisition that happened earlier this year.

However, other reports cite additional development details and issues, such as “tens of millions” spent on AAA ports, as major reasons for the closure of Stadia’s internal studios.

A Google spokesperson told IGN in a statement, “Gaming is an incredibly important vertical at Google and we’re seeing huge momentum across all products and services. Jack’s new role will allow us to better bring customers the best of Google across our Cloud services, Stadia, YouTube, and more. Stadia continues to be led by its GM Phil Harrison, and Stadia’s business development and partner management teams will continue to be led by Michael Abbattista, who took over the role in 2020.”

Buser’s departure points further to Stadia’s overall pivot to marketing itself as a platform for third-party companies to use as a cloud gaming platform, rather than an actual house for game development. Buser’s Stadia role was likely more aligned to the Stadia of old — the Stadia interested in developing its own games and becoming a platform not unlike PlayStation, Xbox, and the like — so his departure isn’t all that surprising, as noted by ZDNet.

A Cloud spokesperson told the publication that the company “sees incredible momentum across all industries, and gaming is one of the key verticals we are investing in.” It seems Buser will help lead Cloud’s charge into gaming.

Google says Buser’s hire will help the company develop new relationships with game publishers and developers while also connecting players to Google’s wider suite of services. It also says that Buser’s departure from Stadia will actually help Stadia because it will give Buser the chance to create more partnerships and product opportunities across Stadia and Cloud.

For more about Stadia, read about how the service finally has a search bar and then read about how Xbox Series X|S consoles are getting an updated browser that can play games via Google Stadia. Check out this story about how Google, Id, and Bungie are the subjects of a Stadia lawsuit after that.

Wesley LeBlanc is a freelance news writer and guide maker for IGN. You can follow him on Twitter @LeBlancWes.

Life Is Strange: True Colors Chapter 2 Guide – Eleanor’s Fear Puzzle, Forgiving Ryan

In Chapter 2, Life is Strange: True Colors begins introducing puzzles that Alex will have to navigate to help the residents of Haven. The heavy-hitting ones are mandatory, though there are a few optional ones as well. Below, we go over all the major choices you’ll get to make in True Colors Chapter 2: Lanterns.

Quick note: Chapter 2 is when True Colors really opens up, allowing you to freely explore Haven and pursue tasks in whatever order you want. Alex will usually comment when she hits points of no return–in the case of Chapter 2, first telling Jed she’s done with work and then confronting Mac–so make sure that you’ve done everything you can before those moments.

More Life Is Strange: True Colors Guides

Chapter 2: Lanterns Walkthrough

Did Gabe Make The Call? [Mandatory]

At Gabe’s wake, Ryan will confront Mac, angrily accusing him of ignoring Gabe’s call to halt the scheduled detonation in the mine. To this, Mac will say he got no such call and Gabe must have made a mistake. Ryan will then turn to you for validation, asking you to support his claim since you heard Gabe make the call.

Of course, you didn’t hear the call. All you have is Gabe’s word that he made the call. Telling the truth isn’t the ideal way to go in this scenario, especially if you’re gunning for friendship or romance with Ryan. Side with Ryan and lie: Tell everyone that you heard Gabe make a call, thus accusing Mac of negligence.

Steph’s Grief Puzzle [Mandatory]

Similar to understanding Ethan’s fear, to understand Steph’s sadness, you need to empathize with her. Approach her and tap into her grief–this will highlight certain items around the apartment with a soft blue glow. Finding everything shouldn’t prove too difficult. You’ll know you’ve found everything relevant when Alex says that she has enough to go on to comfort Steph.

When you approach Steph, the subject you want to bring up is playing foosball. Goad her into playing. You’ll likely beat her the first time and then she’ll collect herself and dominate you in the second round, so prepare to battle it out in round three. It doesn’t matter too much whether you win or lose, but if you win, Alex will act like an entitled champ and Steph will be reminded of the fun she’s had with Gabe as a result. So try to win.

Signing The Typhon Agreement [Missable]

Once you’re free to explore Haven for the first time (during Alex’s search for Mac) quite a few optional choices open up to you. One of the most important involves Charlotte. Go to her shop, the marijuana dispensary, to speak with her. She’ll confide in you that she’s struggling with her own grief, helping Ethan, and dealing with Typhon–the mining company responsible for Gabe’s death.

Charlotte will tell you that Typhon has sent her a document for an enormous settlement, provided she agrees to immediately not press charges about Gabe’s death. It’s a super shady deal, but she could also use the money to support Ethan’s future. She’ll ask Alex what to do. Tell her to take the money–it sucks but it also shows that Alex cares about Charlotte and Ethan and wants their future to be secure.

Comforting Ethan [Missable]

If you head to the park, you can find Ethan. Though he isn’t really ready to open up to you, you can read his emotions to understand how he’s feeling and then let him know that you’re there for him. This will improve Alex and Ethan’s relationship. It will also unlock additional dialogue with Charlotte–you can go back to her now and tell her what’s bugging Ethan, improving your standing with her even more.

Boss For The LARP [Missable]

During this exploratory phase, you can also meet up with Steph at the record store. She’ll tell you that she wants to plan a LARP for Ethan and will ask Alex to pick which villain should be the final boss.

Your choice here will determine which of the two bosses that Alex and Ethan will fight during the LARP in Chapter 3. Both seem to be of equal strength so it really just comes down to which boss sounds cooler to fight.

Alex’s Name For The LARP [Missable]

Before leaving the record store, you can fill out Alex’s character sheet for the LARP. Before you do, be sure to read the second issue of Ethan’s comic–it is on the counter right next to the character sheets. Doing so will reveal that the protagonist in Ethan’s comic has a trusted companion by the name of Alwynn.

When filling out the character sheet, you can choose Alwynn, Alto, or Alexandra as Alex’s name for the LARP. Now that you know that the character that Ethan will portray has an in-universe companion named Alwynn, you should go with that. It will further solidify the bond between Alex and Ethan and more seamlessly insert Alex’s character into the LARP.

Eleanor’s Fear Puzzle [Mandatory]

When you search for Ethan at the flower shop, Eleanor will tell you that he left a while ago. Before you can leave, you’ll notice that Eleanor is deeply afraid. You can’t leave the shop without helping her.

Similar to handling Steph’s sadness, approach Eleanor and read her emotions. You’ll then need to find all the relevant objects–they’ll be glowing purple. In the room with Eleanor, there’s the sign on the door, flowers in storage, and the register. In the backroom, you’ll find the phone and a picture of Riley. Interact with all of them to understand why Eleanor is afraid.

You’ll then have to help retrace Eleanor’s steps. To do this, you’ll have to once again interact with the five objects but in the right order. Based on what you’ve gleaned from Alex interacting with each object, you have to try and use common sense to piece together Eleanor’s day up to that point. If you need help, we’ve outlined the steps below.

  1. Interact with the sign on the door.
  2. Interact with the phone in the backroom.
  3. Interact with the picture of Riley.
  4. Interact with the flowers.
  5. Interact with the register.

After all that, you’ll be confronted with a horrifyingly daunting and tragic choice. It will hurt, but we feel that opting to tell Eleanor the truth is the right way to go. Neither choice will impact the ending of the game, however.

Helping Mac [Mandatory]

When you finally confront Mac, he’ll have a panic attack. You can either help him or just walk away and leave him to suffer. Neither choice impacts what ending you get–just decide whether he deserves to suffer through a panic attack alone.

Forgiving Ryan [Mandatory]

When you find Ryan at the end of Chapter 2, his grief will make him angry at himself. You have to talk him down, and ultimately tell him whether Alex forgives him for Gabe’s death, Gabe would forgive him for his own death, or that Ryan ought to forgive himself. These choices don’t seem to influence the overall direction of the story too much, though suggesting that Gabe would forgive Ryan makes the most narrative sense.

After that, Alex and Ryan will continue to talk and eventually you’ll have the choice of shaking Ryan’s hand or hugging him to seal the duo’s partnership. If friendship–and eventually, romance–is your aim, go for the hug. If you want to keep things strictly professional, then a handshake works.

Life Is Strange: True Colors Chapter 1 Guide – Lying For Mac

Like previous games in the series, Life is Strange: True Colors will regularly present you with choices that will influence the outcome of the story. Most of these choices are mandatory but a few are optional and easily missable. Below, we go over all the choices that are important to True Colors Chapter 1: Side A. You’ll make additional decisions beyond these ones, but they don’t have as significant an impact.

As an additional note, though we don’t go into detail about all of them here (we’ll cover the major ones), there are certain choices that can influence how Alex perceives herself. Notably, whether she loves music and herself. If you constantly make decisions that have Alex look down upon her incredible musical talent, she won’t as easily regard making music as a career choice. Additionally, folks around Alex–upon learning of her Empathy–will regard her as a superhero, but it’s up to you to decide whether she ultimately views her abilities as a gift or a curse.

More Life Is Strange: True Colors Guides

Chapter 1: Side A Walkthrough

Meeting Gabe [Mandatory]

Right at the start of True Colors, Alex will meet her brother again for the first time in years. You’ll be prompted with the choice of whether to shake Gabe’s hand or give him a hug.

Personally, we advise you to go for a hug. Neither choice has massive ramifications for the story (at least as far as we can tell) but hugging Gabe as opposed to shaking his hand will influence the two siblings’ relationship to start on as positive a note as possible.

Meeting Riley [Mandatory]

When you first meet Riley, you’ll learn that Gabe is helping her with an application essay. Riley thinks it’s smarter to use flowery language to describe her weaknesses, like she “works too hard,” while Gabe thinks it’s better that she just be honest. Riley will then ask you to be the tiebreaker.

If you want to ensure your relationship with Gabe is as close as it can be, side with him. However, it’s better to side with Riley in this debate as doing so will ensure you set the most positive first impression you can with her (similar to hugging Gabe at the start as opposed to shaking his hand). Being Riley’s friend and someone she can trust will be important for later chapters.

Talking To Gabe About Ethan’s Plans [Mandatory]

When you first meet Ethan, he’ll tell you about his plans to sneak into Haven’s old abandoned mine after dark. He’ll ask you to keep his secret–later, his trust in you will be put to the test when you have the option of telling Gabe about Ethan’s plans or keeping quiet.

It may seem like the right and responsible thing to do to tell your brother that his adopted son is planning to go visit a mine after dark. But that’s how cops think, and Alex ain’t no snitch.

And beyond that: Your choice in this instance doesn’t really matter–the overall story won’t change depending on whether you blab or keep your mouth shut. But you do get brownie points with Ethan for keeping his secret and that’s more important.

Rocking Out With Gabe [Mandatory]

When Gabe shows Alex his apartment, he’ll eventually start playing air drums and invite Alex to pick up a broom to rock out with him on “guitar.” You can join him or be a coward and just watch.

Don’t be a coward.

Meeting Charlotte [Mandatory]

When you finally meet Gabe’s girlfriend, Charlotte, she’ll strike up an (awkward) conversation with Alex, in an attempt to get to know you. She’ll take notice of Alex’s star tattoo and eventually ask how Alex feels about Haven so far. You have the choice of being positive, negative, or ambivalent.

In order to set a positive first impression with Charlotte, it’s important to be positive or ambivalent about how Alex feels about Haven.

Alex’s History As A Server [Mandatory]

When Gabe needs to step out for medical attention, Jed will ask if you can step in to be a server for the bar, saying that Gabe told him that you have plenty of experience as a server. This, of course, is a lie. So you have the choice of supporting Gabe’s lie or telling Jed the truth and admitting you have no experience.

In this instance, telling the truth and then impressing Jed with your performance is the best course of action. As a server, you’ll need to clear the backroom, take and remember two orders, and check in with people. The only tricky part of this is remembering Diane and Duckie’s orders. They will tell you what they want and then you need to tell Jed via a multiple-choice test. As soon as you get their order, just go straight to Jed before you forget. You’ll have time to do everything else afterwards.

Duckie’s Missing Whiskey [Missable]

Part of Duckie’s order is his usual: a particular brand of whiskey. He and Gabe had the bottle last, so you’ll need to find it. It’s upstairs in the apartment, squeezed between the couch cushions.

Steph’s Jukebox Game [Missable]

Steph is in the bar during your shift and will ask if you want to play the Jukebox Game with her. You get to ask five yes or no questions in an attempt to figure out one of the songs in the Jukebox.

Frankly, it doesn’t matter whether you win or lose. The important thing is to play so that you start a friendship with Steph and establish a repertoire that can lead to romance down the line, if you so wish.

Talking To Riley About Mac [Mandatory]

When Riley learns about Mac getting beat up, she’ll show up to ask what happened to him. Mac will then lie, telling Riley that Gabe is at fault. You can also lie and cover for Mac (ensuring Gabe takes the blame for the altercation) or tell Riley the truth.

Though you do earn Mac’s trust by covering for him, the dude doesn’t deserve it. And even without his trust, you’ll be able to get the information you need from him later (it will just require a little push on your part). Tell Riley the truth–it will end her relationship with Mac for good, but it will further cement your friendship with her. More importantly, you’ll firmly earn her trust and you will need that for later.

Talking To Gabe About Alex’s Past [Mandatory]

On the rooftop, late into the first episode, when confronted with the choice of talking to Gabe about Alex’s past, you’ll have two options. You can talk to Gabe about Alex’s life in foster care or outright reveal to him that she possesses superhuman Empathy powers.

There is no wrong answer here–either choice will improve the relationship between Alex and Gabe as her opening up to him will prove to him that she trusts him. However, there is a branch in the story here. If you tell Gabe about your powers, he will be the first to know about them. Continuing to hide them means that someone else (one of True Colors’ two romance options–Ryan) will be the first to know, ensuring that their relationship with you will be a lot closer (as they will then become the first and only person to know).

This may make it seem like hiding your powers from Gabe is the way to go, especially if you want to romance Ryan, however, telling Gabe about your powers is extraordinarily helpful in getting Alex onto the track of regarding her abilities as more of a superpower than a curse. You’ll be able to get her on this track regardless of what you decide here, but if you want that process to start sooner rather than later, confide in Gabe.

How Alex Feels About Gabe’s Gift [Mandatory]

When Alex admits that she found Gabe’s gift–a guitar–he’ll ask her what she thinks about it. You can have Alex tell him that she felt rusty or that she loves the guitar. Go with the latter choice, especially if you want Alex to fall in love with making music over the course of the story.

How God of War Ragnarok’s World and Combat Are Evolving 2018’s Foundation

2018’s God of War marked a major departure for the franchise, and not just because Kratos saw himself journeying from Greek to Norse mythology. Santa Monica Studio’s acclaimed adventure fundamentally changed many aspects of the experience of playing God of War, from its cinematic, unbroken camera to Kratos’ Leviathan axe to the ever-present Atreus and so much more.

While God of War Ragnarok certainly looks to be building on what came before, its new director Eric Williams is looking to evolve the fundamentals of that memorable experience, while also providing new variety and intrigue for players.

IGN spoke to Williams and Studio Creative Director (and director of GoW 2018) Cory Barlog after the Ragnarok gameplay reveal as part of the PlayStation showcase, and Williams explained some of his philosophy in approaching directing this sequel.

“God of War 2 and Ghost of Sparta are probably the two favorite games that I worked on,” Williams said. “There was a method to both those games, taking the base and then saying, ‘You know what, let’s go deep on fan service. Let’s go big on variety, but not more just to have more. More that was appropriately structured.

“For me being first time [in the director’s chair], I’m going to take the history lessons of the past, and I’m going to use those to try to do that. So in Ragnarok, what we are trying to do specifically with Kratos, we’re trying to give a lot more expressiveness to the player.”

And, no, by “expressiveness,” Williams doesn’t mean giving Kratos more goofy photo mode faces (though I personally wouldn’t be opposed to them). Instead, he was referring to some of the choices around Kratos’ gear, which players had a much greater control over in the 2018 entry as opposed to previous games. He also teased that Atreus, who often served as an aid in combat who had a limited number of follow-up and combo moves he could pull off while players controlled Kratos.
“The way [he and Kratos] link up, he’s grown up a little bit, so he’s got a lot more follow-ups and setups for Kratos,” he continued, though he noted the team is equally making sure the suite of enemies players face can match up to these new moves.

“Creatures then obviously need to have tools to go against that, otherwise you’re going to destroy them. So creatures have new things that you’re going to need to think, ‘Oh, I might need to break them down with Atreus first, or do this with Kratos,” Williams noted.

“There’s going to be a little bit more conversation with the enemies with all the new tools. But because you can have different tools, then you have different conversations, so you can kind of push them one way or that way,” he continued [conversation of course not meaning literal discussions but combat strategies], noting that in the way armor had depth in the first of these Norse-based games, other elements should similarly allow for player variety.

Williams also explained that this thought, of evolving and deepening what players experienced before, is also being applied to Ragnarok’s actual world, which will let players visit all Nine Realms whereas God of War 2018 omitted some. And even though Fimbulwinter has begun, players shouldn’t expect to only encounter snowy realms.

“Going to all the Nine Realms, that was big for me making the old new again. Any realm you’ve been to before, because Fimbulwinter has struck, they’re changed in some way. It doesn’t mean that every realm is effected by snow, by the way. I think that’s a misnomer…Fimbulwinter is an event that changes the realms in different ways. Midgard is the cataclysmic epicenter, so it got permafrost, almost if you will.”

But all of the additions the team is making are very methodically intentioned – while the gameplay teases hint at a greater variety than even 2018’s God of War offered, Williams wants to make sure all of these new additions mean something to the experience, using an example from combat that indicates how these additions have wider effects.

“Variety for variety’s sake is not a thing at all [for us].”

“Variety for variety’s sake is not a thing at all [for us]. It’s there to serve what we’re trying to do,” Williams said. “Kratos grappling up the ledge with a chain and then colliding with the enemy and going off [in the new gameplay footage], you couldn’t do things like that [in 2018]. Most of the gameplay last time took place on a plane. Now there’s some verticality to it, but it wasn’t [a thought like], ‘Oh, let’s have him flinging up walls just because.’ [That’s included] because there’s gameplay oriented around it, almost king of the hill-type encounters. So it changes how a player expresses themselves on the battlefield.

“Enemies also, can take advantage of that. So if you’re not paying attention, they’re going to take advantage as well. So it helps again with that conversation that goes through combat.”

Though the gameplay trailer only gives us a tease of what’s to come, it begins to establish how Santa Monica Studio is building on the new combat of 2018 and deepening it further for players. For now, that gameplay will have to suffice as we wait for God of War Ragnarok’s release on PS4 and PS5 in 2022.

Stay tuned to IGN for more from Williams and Barlog.

Jonathon Dornbush is IGN’s Senior Features Editor, PlayStation Lead, and host of Podcast Beyond! He’s the proud dog father of a BOY named Loki. Talk to him on Twitter @jmdornbush.

NBA2K Review in Progress

When a basketball player gets into “the zone,” people say it can feel like time slows to crawl. They can see things before they happen, every little detail about their opponent stands out, and the rim seems to get bigger and more inviting. NBA 2K22 hasn’t quite managed to get me into the zone during my early time playing it so far, but the improved gameplay and breadth of content of this iteration get it closer than it’s been for the past few years. From important changes to how stamina impacts shooting to a City filled with diverse ways to improve your MyPlayer character, 2K22 feels like a breath of fresh air.

With only a day with the PlayStation 5 version under my belt, both I and the community are still in the early stages of learning this latest iteration of NBA 2K. I haven’t put in the hours to learn all its ins-and-outs yet, making it hard to say how it will hold up over time at the moment. However, certain things already stand out about developer Visual Concepts’ latest installment that are exciting for me as a long-time player.

NBA 2K22 has made some important tweaks to the on-court action that help make it play like a more realistic game, most noticeably how it handles stamina loss while dribbling. In 2K21, it was easy to run at a defender on the perimeter, hit a Curry slide, and drain a three without breaking a sweat. Against the CPU, that tactic was almost undefendable, especially in MyTeam where player cards were quickly made ridiculously overpowered. With 2K22, you can still employ tactics like that, but the stamina loss you suffer from sprinting and doing dribble moves is made much more significant to balance out its effectiveness.

Managing fatigue leads to a playstyle that feels closer to real-life than 2K21 ever did.

As your player gets more tired their shot meter will shrink, making it tougher to hit shots. That leads to a game that initially seems slow compared to 2K21 – but if you play under more control and don’t just hold that sprint button, you’ll actually have an easier time putting the ball into the bucket because of your larger shot meter. It may not seem like an important change at first, but it leads to a playstyle that feels closer to real life than 2K21 ever did.

On top of that, I’ve noticed some of the more problematic legacy issues not popping up as much. Things like bump steals aren’t gone completely, but I certainly haven’t seen them happening as much as last year. That could, of course, all change as players get more familiar with 2K22, but for now, I’m happy to see Visual Concepts taking steps to iron out some of those more annoying tactics. There are still quite a few instances of weird animations that took me out of the experience, but those too are lessened from previous years.

I’m happy to see Visual Concepts taking steps to iron out some of those more annoying tactics.

Improved gameplay doesn’t mean much if you don’t have good places to take advantage of it, but fortunately, so far Visual Concepts seems to have provided plenty of things to do throughout its selection of modes. I’ve spent most of my early time playing in MyTeam and MyCareer, and they’re both full of options like the new multiplayer options in MyTeam and the increased variety of off-the-court activities in MyCareer. MyTeam, in particular, has so many options if you’re looking to grind toward your dream team, be that playing with the world’s best current NBA superstars or legends of the past. Unfortunately, its lackluster multiplayer options don’t follow suit.

Unlimited and Limited modes are back with basically no changes. That means most players will probably never sniff the top tiers of Unlimited rewards and Limited continues to be a luck fest in terms of rewards. Visual Concepts has also changed Triple Threat Online to something it’s calling “The 100.” You start the mode with 100 points, and after each game your opponent’s score will be subtracted from that total as you work your way up the prize board until you hit zero points. That could’ve been a great casual option since you’re guaranteed to at least make it to the second tier on the prize board. But, in practice, it’s unrewarding compared to the single-player modes for casual players and more annoying for dedicated players who will now have to struggle to get to the top tier of the board much more than in previous years.

The new Draft mode looks interesting.

The new Draft mode looks interesting and will hopefully make up for those multiplayer shortcomings, but I haven’t had time to play much of it yet. If you’re looking to get into MyTeam, I would definitely focus on the single-player content during your early days and then go online afterward if you want to.

On the MyPlayer front, Visual Concepts gives players tons of interesting things to do in NBA 2K22. From the jump, you can run around The City, completing quests and meeting NPCs… like Jake from State Farm. It’s a very silly world where your soon-to-be pro baller can just skateboard around to his heart’s content (complete with ludicrous skating physics), go to the gym for some weightlifting mini-games, and then get in a 3-on-3 game against other elite players. The story mode seems a bit scaled back compared to last year so far, but I’m still early and it’s impossible to say how some of the off-the-court action will impact the mode.

After spending a little over a day with it, NBA 2K22 is at least shaping up to be a firm step in the right direction following a disappointing 2K21 release. I am still early in my time playing, so my thoughts could easily change as I learn more about what has or hasn’t changed, but I’m hopeful that the gameplay tweaks I’ve already come to love and all of the different options Visual Concepts has given me to take advantage of them will stand up over time. Check back next week for the full review and score.

New Warriors Series Featuring Squirrel Girl Was Killed Because It Was ‘Too Gay,’ Showrunner Says

Marvel’s live-action New Warriors comedy series featuring Squirrel Girl was cancelled because it was “too gay,” according to the series’ showrunner.

As reported by Gizmodo, former New Warriors showrunner, Kevil Biegel, tweeted out three behind-the-scenes images of Milana Vayntrub’s Doreen Green, aka Squirrel Girl. Naturally, that tweet was quickly deleted, but Gizmodo was able to take a screenshot of the photos before Biegel took them down.

Biegel also tweeted a brief explanation as to why the show was cancelled, citing that it was “too gay.”

“A SINGULAR power that be killed the show,” Biegel reportedly wrote in a now-deleted tweet chain, according to Gizmodo. “Because it was too gay. A rich, straight, Brentwood turd. He got fired for being vile at his company. We, on the other hand, live.”

Other tweets made by Biegel, which also have been deleted, allege that New Warriors was cancelled by a homophobic executive that took aim at the show for being “very, very proudly gay.” Biegel did not reveal who that executive was, but the former showrunner did clarify that it was not Jeph Loeb, who left Marvel when the studio closed its Marvel Television arm.

The three photos posted by Biegel overnight show Vayntrub (who you might recognize from those AT&T commercials) standing in what appears to be a studio space wearing a Doreen Green outfit with a large squirrel tail prosthetic attached to her backside. Another photo shows Vayntrub with a puppet of Tippy-Toe, who is Squirrel Girls’ real-life squirrel sidekick, on her shoulder.

The third photo was artwork from the Unbeatable Squirrel Girl comic run helmed by Erica Henderson, Rico Renzi, and Ryan North, according to Gizmodo.

Details of this now-cancelled New Warriors comedy TV series first came out way back in 2017, when it was revealed that Freeform had ordered the series from Marvel. It was then revealed in 2018 that the series would focus on Squirrel Girl.

New Warriors was quietly cancelled in 2019 alongside the shuttering of Marvel Television and it was revealed a couple of months later that the show would have featured a live-action M.O.D.O.K.

Wesley LeBlanc is a freelance news writer and guide maker for IGN. You can follow him on Twitter @LeBlancWes.

How To Watch The Matrix Trilogy And Why It’s The Perfect Time To Revisit These Movies

With The Matrix Resurrections finally and recently given a release date of December 22, it’s time to start thinking about watching the original trilogy either for the very first time, or just to refresh your memory. Whatever the reason–even if you took the wrong pill–the solution is easy enough: HBO Max has The Matrix, The Matrix Reloaded, and The Matrix Revolutions on both ad-supported and ad-free tiers. It also has The Animatrix, a collection of nine short films.

The fourth movie will be both in theaters and that streaming service on that day, right alongside the original three. In fact, it probably wouldn’t be a bad reason to get a few rewatches in between now and December, as the new trailer is suggesting a very mind-warping movie is ahead to continue the story. Depending on what you choose to believe, the next entry in the franchise seems to be about Neo reconnecting with his true identity, or coming to terms with how most of his memories have been wiped. It probably makes more sense to just watch this new clip, and decide for yourself.

To further get people hyped for the film, WhatIsTheMatrix.com has also launched. The website will allow you to take your chances and see one of over 180,000 unique teaser videos. Every video features footage from the new movie and narration from the cast. So, that’s also something you can try when revisiting the original movies. You can also go further down the rabbit hole by reading this theory about the now-defunct Matrix Online MMO game’s relationship to the upcoming film.

The Matrix: Resurrections stars Keanu Reeves, Carrie Anne Moss, Yahya Abdul-Mateen II (Watchmen), Jessica Henwick (Underwater), Ellen Hollman (Spartacus), Jonathan Groff (Mindhunter), Priyanka Chopra (We Can Be Heroes), and Daniel Bernhardt (Birds of Prey). The fourth movie in the series is directed by Lana Wachowski. Lilly Wachowski will not be working again with her sister on the latest movie, as she didn’t want to step back into the world of The Matrix.

Malignant Review

Malignant is now showing in theaters and streaming on HBO Max.

After five years away from directing in the genre that put him on the map, James Wan returns to horror with Malignant. Wan has long-since established his technical skill as a filmmaker, a key factor of how he’s been able to stretch low budgets into focused, effective scarefests like The Conjuring, Insidious, and Saw. That’s why it’s surprising that, despite Wan working in a format he usually excels in, Malignant is an overstuffed mess more concerned with sound and fury than tension and dread.

Malignant follows Maddie Mitchell (Annabelle Wallis), a mother-to-be who begins to experience in real time the murders of a supernatural shade named Gabriel as he tears his way through enemies who wronged him early in life. Maddie soon realizes that Gabriel is a figure from her own mysterious past and that their connection may be the only thing that can stop his killing spree. Gabriel is a frustratingly inconsistent antagonist, whose physical and supernatural abilities shift from scene to scene, such that you never quite know what he’s capable of. He does, however, cut an imposing figure. The rage-filled murderer is brought to life with a nice blend of different practical effects (with subtle CG touches) which become more prevalent as the movie progresses and result in some great body horror during the climax.

But Malignant is at its best early on, when the unclear nature of Gabriel’s existence and abilities make each attack an opportunity to learn something new about him. An early success in that department comes when Maddie’s abusive husband, Derek (Jake Abel), encounters Gabriel, first noticing signs of his presence through electrical malfunctions throughout the house. Gabriel’s command of (or effect on) electricity is passingly mentioned here and there, but its utility is almost exclusively reserved for turning the lights off when it’s time to get spooky or giving him an excuse to make threats and laugh maniacally through nearby speakers.

After a first act which functions well enough as straight horror, Malignant morphs into more of a supernatural action flick, becoming preoccupied with Gabriel’s brutal acumen for snappin’ arms and doin’ harm. Wan knows how to stage action beats and fight scenes, but here, they tend to feel excessive and out of place. By the end, Malignant feels more like a supervillain origin story, with Gabriel balletically flipping and spin-slashing his way through armed opponent after armed opponent. Lost in all of this chaos is Maddie, whose journey to overcome her trauma reads like an afterthought. Aside from the numerous tragedies in her life presented to generate sympathy for her, there’s very little about the milquetoast Maddie that makes her a hero worth rooting for. That makes the increasing presence of Maddie’s sister, Sydney (Maddie Hasson), an aloof actress, a welcome change of pace as the film goes on, bringing much-needed energy and levity to Malignant’s frequent exposition dumps.

For a movie that’s built around Maddie being psychically linked to the killer, the majority of Malignant’s revelations about Gabriel come from diving through old boxes, research files, and archival tapes which build out the pair’s history in uninteresting fashion. Wan further muddies Malignant’s sense of self by spending an outsized stretch of time with the detectives investigating Gabriel’s crimes. Shaw (George Young) and Moss (Michole Briana White) are a boilerplate, “been there, done that” pair and incidents of them pushing the plot forward with new information feel like wasted opportunities to give Wallis more of an active role.

While Malignant suffers from numerous problems on a script level, the movie works much better on the visual front. Whether it’s a dusty old house, an apartment awash in red neon, or a derelict tunnel beneath Seattle, Wan is an expert of establishing space, orienting us to all the nooks and crannies that they’re going to have to watch out for when the lights go out. For as many supernatural stories he’s set in a big, airy house, Wan still finds new ways to move the camera through halls, up and down stairs, even into appliances in ways that draw us in. Did that long shot of Maddie contemplating her situation need to be shot from the inside of the open dryer she’s unloading? No, but it’s a more interesting shot, and that’s an ethos Wan carries through all of his compositions. Wan even finds novel ways to illustrate Maddie’s experiential view of Gabriel’s killings, with her reality melting around her and reconstituting as the crime scenes.

Malignant’s score, by longtime Wan collaborator Joseph Bishara, doesn’t fare as well, often undercutting dramatic moments with discordant electronic strings. One crucial revelation about Maddie’s past is transitioned out of with a pulsing orchestration of Nada Surf’s “Where Is My Mind?,” which distractingly recurs numerous times throughout the movie.

The Last Duel Review

The Last Duel was reviewed at the Venice Film Festival, where it made its world premiere. It will hit theaters on Oct. 15.

The Last Duel takes us back to a dark chapter in French history as director Ridley Scott strikes an unforgiving tone for this tale of gruesome, bloody combat. Based on true events, the film’s grim story and overwhelming bleak atmosphere sets the stage for an emotional tale of one woman’s fight for justice in the face of honor, duty, and so-called chivalry.

Fourteenth century France can be a hostile place – especially for a woman. This is even more true for a woman accusing a man of rape, as Marguerite de Carrouges (Jodie Comer) soon finds out. Although The Last Duel largely focuses on how this plays out in a medieval court, it opens with the cut and thrust of the titular last duel. It’s certainly serious business, as knights Jean de Carrouges (Matt Damon) and Jacques LeGris (Adam Driver) gear up for a fight to the death. It’s all in the name of honor – Jacques has been accused of raping his former friend’s wife. But hold your horses, as there’s a lot more at stake than meets the eye.

After giving us a brief yet brutal glimpse of the duel that’s about to ensue, takes us back to the very beginning, telling the story in several chapters. Breaking it down by individual testimony, we watch the same story unfold several times. First, we see the truth according to Jean de Carrouges, followed by that of the accused, Jacques LeGris. Finally, the whole truth is revealed by none other than Jacques’ victim, Marguerite de Carrouges. At first glance, it may seem like a labored way to tell this story, but it’s used to sublime effect, highlighting the unreliable nature of each man’s version of events as they bend and twist the truth to suit their own ends. It’s a damning examination of both Jean and Jacques as their individual character flaws are laid bare. The first scene in both of their testimonies underscores this perfectly – an epic, sweeping battle sees both men claiming to have saved the life of the other. Clearly, they both want to paint themselves as the heroes of their own story, and by basking in heroic light, they embody the very meaning of honor and chivalry. At least, that’s how they see themselves.

Soon enough, even bigger cracks begin to form between each man’s version of events. Jean enamours us with a love story: a chance meeting with Marguerite unfolding as the pair relishes in the smaller, more intimate moments with a glance here, a knowing smile there. Meanwhile, Jacques paints a very different picture. His story depicts Jean as a cold, callous man with very little love for his wife. Instead, Jacques says it is he who really loves Marguerite… and he claims that she feels the same.

These discrepancies are played perfectly all round by Comer, Damon, and Driver. The real cleverness in Scott’s approach to this story is in how its relationships change in the most subtle of ways from one version to the next.

The coy flirting between Jean and Marguerite becomes a “strange match” when Jacques recounts his story. And while there’s undeniable chemistry between Comer and Driver – especially in Jacques’ version of events – this soon breaks down into a gruelling, hard-hitting depiction of rape by the time Marguerite gets to tell her story.

Ridley Scott sets an unforgiving tone for this tale of gruesome, bloody combat.

Scott doesn’t shy away from the brutal, horrific nature of it, either. Instead, you’re forced to face the reality of Marguerite’s full testimony, watching in horror as it all unfolds. This, too, changes from one account to the next – Marguerite recounts a harrowing moment when she fights back against Jacques’ violent demands. However, Jacques claims that it was all consensual, and merely the “customary protest” of a married woman who has fallen in love with another man.

Comer is the standout star here, vacillating in each account between dutiful wife, adulterous woman, and world-weary rape victim as the scene demands, playing each with staggering realism. But the question remains – will Marguerite de Carrouges find justice?

“There is no right,” remarks Jean’s mother (Harriet Walter). “There is only the power of men.”

That’s essentially what The Last Duel boils down to: a fight between two men to determine the veracity of a woman’s rape claim. It’s a stark and self-aware reminder of the struggle that many women face, even today. As much a cautionary tale as a legendary one, the seriousness of the story is backed by its atmospheric setting. Scott uses a palette of subdued greys and stony castle walls to create a grim, almost claustrophobic feel. You can feel the weight of the film’s world in almost every scene.

That said, a memorable performance by Ben Affleck as the eccentric (and thoroughly debauched) Count Pierre d’Alençon adds a touch of levity when it’s needed most. The foul-mouthed slurs of a nobleman who does as he pleases break up the often grinding tone of the movie, while a glimpse of his bedroom antics reminds us that even the noble house is not without corruption.

The Last Duel is a masterclass in slow-burn storytelling, allowing its complex plot to unfold naturally over three distinct chapters. Re-treading that story from different perspectives allows Ridley Scott to break down the virtues of those involved, calling them into question as they’re put under the spotlight.

The Last Duel is a masterclass in slow-burn storytelling.

Throw in some sweeping, epic battle scenes for good measure and you have an almost scientific examination of the medieval historical epic. But it’s far more than that – it’s also a keen look at a moment in French history which reflects the struggles women face to this day.