EA Access subscribers now have another big game to play for no extra cost, EA has announced. Battlefield V, DICE’s hit shooter that only launched in November, is now part of the EA Access Vault on Xbox One.
In addition, the game will be free on EA Access for PS4 when that launches in July. The news comes shortly after Battlefield V was added to the Origin Access game collection. Origin Access is a very similar service to EA Access, except exclusive to PC.
EA Access costs $30 / £20 / AU $40 for year or $5 / £4 / AU $40 per month. A subscription grants you access to a vault of free EA titles, such as Titanfall 2, Star Wars: Battlefront II, and FIFA 18. Subscribers also get a 10% discount on all digital EA games, as well as their respective expansions and in-game purchases. Members can also take advantage of EA Access’ Play First Trials, which typically give you 10 hours of early access to new EA titles prior to their official release.
EA Play, the publisher’s pre-E3 conference, also brought news of new Battlefield V maps. The first map shown is called Marita, based on the village where the Battle of Greece began. It features a sloping mountain ridge and tight streets, with lots of hills and multi-story buildings for verticality. Allies are in control of the town, while the Axis tries to break their stronghold. Marita launches in July.
The second new map shown, Al Sundan, is the next one to arrive: It launches on June 27. It takes place in an African desert and is a large, wide map leaving plenty of room for air battles, and the Axis has established an air base. When you play in Conquest Mode it will have six flags, and campaign players will recognize the map from the mission Under No Flag. It’s coming as part of Tides of War Chapter 4, which will also see two new close-quarters maps added.
Finally, the third map is Operation Underground, an underground battlefield similar to Metro from previous Battlefield games but entirely reimagined. That one is coming in October, between Chapters 4 and 5.
Beyond this, EA also further confirmed that Battlefield V is adding the Pacific Theater. This will include the Iwo Jima map and M1 Garand weapon, among other things still to be confirmed.
EA Play started with the showstopper, as Titanfall and Apex Legends developer Respawn Entertainment showed off Star Wars: Jedi Fallen Order, its upcoming third-person action game. We got to see 15-minutes of the game during the stream, getting a look at the some of the combat and traversal skills that protagonist Cal Kestis has.
However, shortly after the stream aired, we got the opportunity to see a 30-minute demo, which showcased a set-piece moment from the game. This involved Cal climbing an AT-AT and wreaking havoc from inside the cockpit, and provided a very different flavor of the game than what we saw on stream. In the video above, Randolph Ramsay and Tamoor Hussain recount what they saw behind-closed-doors and also talk about the broader impressions of the game.
June is Pride Month, and there are many LGBTQ+ celebrations that take place around the world. During the EA Play event ahead of E3 2019, the company announced that The Sims 4 will be getting a suite of new pride-themed items to celebrate the LGBTQ+ community. The new items come as a partnership with the It Gets Better project, a nonprofit that works on uplifting LGBTQ+ people; additions include clothing as well as a gender-neutral bathroom door, which is currently unavailable in the game.
PC players will get access to the new pride items beginning June 18th, while console players will get them in July. The content is also coming to The Sims Freeplay and The Sims Mobile in June. The announcement did not specify, however, whether the items will be available for purchase or if they’re simply free additions.
The Sims series has a long history of being inclusive of different sexualities and identities. Beginning in the original game, Sims could form romantic relationships with anyone regardless of gender or their dating history. In The Sims 4, there are now options for transgender Sims, and while binary, they are much more than most character creators currently offer. The upcoming gender-neutral bathroom door seems like a step in a more nonbinary-inclusive direction for the game.
In other Sims news, The Sims 4’s seventh expansion, Island Living, was announced. The expansion adds a new world called Sulani, which is largely based in Polynesian culture, and includes new features like mermaids. Island Living launches on PC on June 21 and then on consoles on July 16.
E3 2019 is looking to be yet another exciting year for those who play games on PC. The event always yields tons of announcements on the newest PC games from the biggest publishers and developers in the industry. It helps that there’s such strong support for the platform, so whenever any big press conference happens, there’s always something for PC players to get excited about. Microsoft’s latest games will appear on PC given its long history of ensuring its exclusives are also playable on the platform. On the other hand, publishers like Ubisoft and Activision have historically always brought their latest and greatest games to PC on day one.
There’s a ton of new PC games appearing at E3 coming sooner than you think. While we’re quick to note how big games like Call of Duty: Modern Warfare and Borderlands 3 are coming this year, let’s not forget that there’s going to be a plethora of new indie experiences coming too. Regardless of where your interests lie, there’s plenty to sink your teeth into at this year’s E3.
To help you keep track of all the new PC games from E3 that are coming this year, we’ve compiled below each one we know about so far. However, E3 2019 is only starting, and there’s bound to be more, so be sure to check back often as we update this feature with all the newest 2019 games.
Speaking of updating, GameSpot is covering E3 2019 around the clock. For the latest news, previews, trailers, and gameplay, be sure to bookmark our E3 2019 hub. If you’re keen on being around as the biggest announcements are happening, then don’t miss the big press conferences held by companies, like Microsoft, Bethesda, Square Enix, and more. You can find out when everyone is presenting in our full E3 press conference schedule.
Which PC games coming soon are you looking forward to the most? Let us know in the comments. Otherwise, read on below for every big PC game coming in 2019.
Nintendo closed out its pre-E3 Splatoon 2 World Championship with a big announcement: the theme of the game’s final Splatfest. Ahead of Nintendo’s E3 Direct on Tuesday, Splatoon 2 producer Hisashi Nogami took the stage and announced the Final Fest, which will take place over a 72-hour period from July 18-21. Fittingly for the final Splatfest, the competition will carry an apocalyptic theme: chaos vs. order.
Just as in previous Splatfests, a new Shifty Station will be featured during the Final Fest. Not only that, but all 23 Shifty Station stages from previous Splatfests will return for the event as well. The previous Shifty Stations will rotate out for the first 48 hours of the Final Fest, while the new design will be featured for the final 24 hours.
Nintendo also announced four new pieces of headgear to coincide with the Final Fest. The gear will be distributed through the Squid Research Lab channel from the Switch News app closer toward the event. You can take a look at it below.
That wasn’t the only Splatoon 2 announcement. Nogami also revealed that the game’s 5.0 update will arrive in late July, following the Final Fest. The update will add a “Turf War (Splatfest)” option to private battles, which will allow players to play on any of the 24 Shifty Station maps. The Splatfest option will also transform the other stages into their nighttime versions, just as they appeared during actual Splatfests.
While they were not featured in E3 2019‘s EA Play livestream, three new indie games were announced during the studio event just after the stream. In a press release, EA announced partnerships with three indie studios to create several new games: Zoink Games (Fe and Flipping Death), Glowmade, and Hazelight Studios (A Way Out). The games that each are working on will be EA Originals.
“We continue to connect innovative and creatively distinct new games from the best and boldest independent game makers to a global audience of players.” EA executive vice president of strategic growth Matt Bilbey said in the press release. “We want to offer our players the broadest, highest quality content possible, with the best access possible.”
Zoink Games is creating Lost in Random, a game that mixes together both action and strategy within a dark fantasy world. Glowmade is developing a co-op RPG called RustHeart, which sees a young hero and their robot sidekick explore an alien multiverse. Hazelight Studios’ game remains unannounced, but EA’s press release describes the title as “a fresh take on the challenges of working together.”
For a game about interplanetary exploration, Outer Wilds can often feel incredibly small. Flying from one planet to the next takes a matter of seconds, making it easy to ping pong around the game’s singular solar system. The brevity of traveling through this handcrafted collection of areas to explore might seem strange at first–especially when the opening minutes of Outer Wilds place such a heavy emphasis on the importance of your mission to document the unknown. However, it doesn’t take long for your expectations of Outer Wilds to be completely flipped on their head, giving way to captivating mysteries to solve and difficult questions surrounding mortality to confront. These questions lead you on unforgettable adventures in which each piece of the story you unearth feels as rewarding as the last.
You play as a citizen of a race of four-eyed, jolly-looking aliens, and you have been selected as the next of your kin to take to the stars. Nestled in the cozy forests of a small planet called Timber Hearth, you and your brethren contemplate the same questions that you’ve likely thought of before. Just where did we come from? Have there been others before us? And if so, where are they now? These questions drive you to explore the solar system you’re in, risking your life in search of answers. Armed with nothing more than a spacesuit, a nifty language translator, and tools for surveying anything from distress signals to harmful invisible gases, you’re left to take flight in your crudely constructed spaceship and venture off in any direction.
With suggestions that other life existed in this solar system before you, you’re tasked with finding evidence to support that claim. Dilapidated architecture from a forgotten age can be found on most planet surfaces, with translatable foreign texts allowing you to piece together the mystery of where these civilizations are today. Your exploration is restricted by a celestial ticking time bomb: The sun at the center of the solar system implodes after 22 minutes and sends you back to the same dreamy campsite on your home planet to start this Groundhog Day loop again. With each new run you can collect more pieces of Outer Wilds’ narrative puzzle, slowly piecing together what might be causing the rapid decline of your neighborhood star, before embracing each inevitable death.
Death isn’t detrimental in a traditional sense in Outer Wilds. In a way, it’s beautiful. The somber tune that plays moments before the light disappears from the solar system signals your death, but it’s also an indicator of how much you might have discovered in that one life. It’s satisfying to have a productive run that unlocks multiple new threads for you to follow up on in your next attempt, pushing you to new planets to explore and narrative puzzles to solve. Other times it’s just as poignant to accept an uneventful run and just embrace the gorgeous scenery around you. Sitting on top of a peak and watching the sun die out is oddly soothing after uneventful expeditions, letting you reflect on your misguided choices and realign yourself for the next journey.
Exploration and the knowledge you obtain with it is the only way to progress through Outer Wilds. As you come across clues and discoveries, they’re recorded in a useful log aboard your ship. These clues are stitched together and color-coded to help guide you along the various dangling threads of the story. The game’s open-ended structure lets you tackle whichever parts of the mystery you want to, in any order, before they inevitably start linking together to bring the bigger picture into focus. These links aren’t clear directions towards the next piece of the puzzle, but instead are suggestive nudges that help you determine when it’s safe to move on from one discovery to another. This helps make each of these discoveries feel earned while also avoiding potentially frustrating barriers to your progress.
Strong writing brings you into Outer Wilds’ world, and unearthing even the smallest bits of this larger story is a rewarding undertaking. Its myriad of uncoverable dialogue records are charming while always maintaining a purpose, giving you small nuggets of information to ponder even in the most seemingly throwaway conversations. The preserved exchanges between children might describe a game they created to pass the time in dark and gloomy catacombs beneath a planet’s surface, which contains a helpful clue for how to get to a hidden area. By contrast, you can also stumble upon the bleak distress signals that never reached their intended saviors or complex plans for alien contraptions that drove past civilizations to make alarmingly dangerous decisions. You grow attached to the recurring names in conversations and become invested in their stories, even when you know many of them don’t have happy endings.
Without an explicit guide to point you in the direction of your next great find, each new discovery feels like a hard-earned reward. You’ll slowly be able to piece together events taking place on other ends of the solar system, slowly letting your own theories make way for a clearer understanding of events that truly transpired before presenting even more questions. This loop of discovery drives you towards exploring every inch of every planet you can, each of which holds its own delightful little puzzles to solve.
Outer Wilds features just a handful of planets and other celestial objects that you’re able to explore on foot, but no two are exactly alike. They each feature unique characteristics that present different challenges you need to overcome to simply explore them. The Hourglass Twins, for example, closely orbit the sun but stay dangerously close to one another, with the gravitational pull of one absorbing the sandy surface of the other and slowly unearthing new areas for you to explore over time. A fast-traveling comet known as the Interloper has an icy exterior that hides a labyrinth of caves underneath its crust, which can only be explored once it travels close enough to the sun for entrances to be melted open. An orbiting moon littered with erupting volcanoes that project volatile balls of lava into space makes simple surface exploration of Brittle Hollow treacherous. You have to uncover a way underneath the Hollow’s crust to safely traverse it, discovering previous civilizations that grappled with the same dangers seemingly eons ago.
Figuring out how to safely traverse each planet is an engaging puzzle to solve, especially when it requires an understanding of their positions within the solar system and at what times they’re best to tackle. Stumbling upon entrances to new areas by accident or observing mysterious behaviors when exploring a planet make each of these spaces more detailed and expansive than their small physical sizes suggest, and it’s even more surprising when many of them contain large cities hidden underneath their crusts waiting to be picked apart. The mechanical and visual variety of each of these planets makes exploring each new one a tantalizing treat.
It’s disappointing then that the rules governing simple movement and space flight in Outer Wilds are counter-intuitive to this curious poking and prodding of its world. Space flight in your ship and planetary surface exploration with your jetpack is strictly bound to the rules of physics. You need to wrestle with different gravitational magnitudes and directions as you navigate using thrusters that fire off in six directions, adding or subtracting to your motion in each associated direction.
The somber tune that plays moments before the light disappears from the solar system signals your death, but it’s also an indicator of how much you might have discovered in that one life.
It takes time to learn when to start applying reverse thrust on an approach to a planet or how to delicately jet upwards on a planet’s surface without accidentally breaking through the atmosphere and into space, but no matter how much you practice, these actions never feel completely natural. Small errors are punished with untimely, frustrating deaths. You can spend minutes waiting for the right time to navigate to a certain area, only to waste all of it over a mistake brought on by Outer Wilds’ unintuitive control scheme. It’s at odds with the rest of the game.
Outer Wilds’ deeply captivating narrative and plentiful mysteries push you further into exploring its richly varied and stunning solar system. The time loop you’re trapped in lets you craft bite-sized expeditions that all end up telling their own stories, irrespective of whether you make a monumental discovery or simply encounter a playful interaction. Having a tool to neatly document your discoveries helps you slowly piece together a tale filled with charming writing, and one that presents its own open-ended questions that add emotional heft to the numerous exchanges you parse through during your travels. By letting you chart your own course and piece together its mystery at your own pace, Outer Wilds makes each of its expeditions feel incredibly personal and absolutely unmissable.
Microsoft has been teasing a reveal for its next-gen systems in its E3 promos, with three separate videos hiding codes that, when put together, create the RGB code for Scarlet, the codename for Microsoft’s next Xbox consoles.
Respawn Entertainment opened EA Play with a 15-minute gameplay demo of Star Wars: Jedi Fallen Order. Viewers got to watch as protagonist Cal Kestis, a survivor of Order 66, which empowered the Empire to massacre Jedis and their padawans, embarked on a mission to free Wookiees that were fighting for the resistance. On the face of it, what unfolded seemed like pretty standard fare for a Star Wars action game. Cal climbed and parkoured around environments, deflected blaster shots with his lightsaber, and used Force abilities to manhandle Stormtroopers.
However, there was much more going on beneath the surface and, it turns out, the demo without an accompanying breakdown didn’t do the game much justice. Star Wars: Jedi Fallen Order is surprisingly cut from the same cloth as From Software’s Bloodborne and Dark Souls, though it’s perhaps less coarse and rough and irritating. Director Stig Asmussen has used the phrase “thoughtful combat” often when describing how Jedi Fallen Order plays and, thus far, it’s not been apparent what that means.
Having seen an extended version of the gameplay demo shown during EA Play, we sat down with Asmussen to discuss the game, its influences, and the particulars of the experience. We also talk about the origins of the project, the pressure of working on a property as beloved as Star Wars, and more.
GameSpot: How did you arrive to this format for the game? Star Wars could be anything and, often, it’s an RPG. What was it about like the action genre that made it right for Fallen Order?
Stig Asmussen: It’s a good question. Actually, before working on Star Wars we were working on a different game and it had basically the same pillars that we have in this game, which is thoughtful combat, agile exploration–you know, beyond human–and Metroidvania level design. And that’s something that when we were working on this other game and we demoed it, people [at] EA saw it and said, there’s something in there that you could see easily see it turning into a Star Wars game. My background is melee action, so when they came to us and were like, “We really like the game you’re working out and we want to do at some point, but how would you guys feel about doing Star Wars?” we were like, great. And [a lot] of the core functionality that we were building for the other game, a lot of the fundamentals, were able to transition over. So we always start with, “What is the game? How does it feel? How does it play? What are the mechanics?” before really figuring out the story. It just so happened this thing that we were working on translated really well.
That’s a really interesting origin for the project. On the one hand, as a creator, you’re working on something brand new and you can make it whatever you want. But then you’re also presented with Star Wars–one of the most beloved properties of all time. How did you weigh up doing something new or doing something that people know and love, which comes with a lot of pressure?
Well I’ve always wanted to work on Star Wars. When I first came to Respawn, Vince [Zampella] and I talked about it because it’s something that he always wanted to do [too]. We had a close relationship with EA at the time so we pitched an idea. They were interested and we were interested but not everything aligned at the time. So when it came time to make the decision and what we are going to move forward with, we brought it to the team: “Hey, we can work on this thing that we’ve got or we can try this other opportunity with Star Wars.” The entire team at that point, which is about 12 people, was like thumbs up, let’s do Star Wars. I mean Force powers and lightsabers are like milk and cookies for us.
Many games lead with story when they’re teasing. They bring out the recognizable things to hook people, and while Jedi Fallen Order has a little of that, it feels like this it’s also leading with gameplay mechanics and systems.
Absolutely. But we’ve been working really closely with Lucasfilm and they’ve been great. They’re like, “We love the game you’re making, let’s try to figure out how to solve the things [that] are Star Wars.” So that’s always a conversation that we’re having, but our designers design very freely when they’re laying out levels. I mean, they have a rough idea of what we’re trying to do with the story, but really what we try to encourage them to do is come up with something that’s fun and within the metrics of what our game is. In a lot of cases, our metrics of our game kind of break what Star Wars is, so then we have to sit down with Lucasfilm and have that conversation, have that brainstorming session where we figure out how to make it work for Star Wars.
So one of the things that you’ve mentioned repeatedly is “thoughtful combat.” What does that mean to you and what should it mean to someone thinking about playing the game?
You’re not just going in and mindlessly hacking down enemies. Every enemy has a weakness, maybe several weaknesses. Every enemy has a way to exploit the hero as well. And there’s synergies between the different enemy types, so they act in different ways depending on how you combine them. So every time you walk into a battle, you really have to weigh how you’re going to go in and take the guys out. We obviously want to have a power fantasy in the game, so as you’re getting stronger, your abilities are getting greater. Enemies you found early on aren’t going to be as much of a challenge, but we’ll be introducing new enemies that will challenge you. And once you take those and you combine that with the fact that now you have several different types of entities together, and then you have your new Force abilities that you’re picking up along the way, new skills that you’re learning, the lightsaber–we’re encouraging the player to do more than just press a button.
What was the seed for that kind of combat? You came from God of War, which has depth and nuance but is mostly played as a button masher.
Well, God of War is great because yeah, you can mash in the game, but there also wasn’t a steep curve for skilled players because you can unlock an insane amount of moves in that game and you can change the combos in different ways. When we started this new combat system, we were looking at Wind Waker. We wanted to have kind of a Metroidvania style, which Wind Waker has a little bit of in there as your abilities unlock gates across the whole map.
And we were also looking at Bloodborne and Dark Souls, and immediately I was like, “I want the game to have Z-targeting.” You can turn it on and off, and it plays really well in the free mode as well. But it was really kind of like, we don’t want to be as whimsical and quite as accessible as Wind Waker but Zelda does have like enemies that you kind of unlock in different ways. So we wanted to have that. That’s where we started thinking about “thoughtful.” You have to learn how to use the different abilities, you know?
We knew it couldn’t be as punishing as Dark Souls, especially since it’s Star Wars. We needed to find something that was more accessible. So, yeah, those were our touchstone.
In Metroidvanias the growth of power and fulfillment of the power fantasy is a lot slower. And people coming into Star Wars may want to feel like a badass Jedi straight away, right? It doesn’t seem like that slow progression would play nicely with the Jedi fantasy.
Right. Well, it can because of the way our character is built in the story. He’s unfinished and he’s unpolished. But, at the end of the day, he’s got a lightsaber and that’s a pretty devastating weapon. And that’s another thing that kind of goes with “thoughtful combat.” When you swing a lightsaber, for it to feel right, a lot of enemies need to go down with one hit, so you have to figure out how to open up an enemy. And once the player does that, then the power fantasy starts to take hold.
Games like Dark Souls and Bloodborne have this process of an uphill struggle and then you’re rewarded for overcoming the challenges. That’s a key part of feedback and satisfaction in the games. How are you treating death in Jedi Fallen Order?
That’s an interesting question. We certainly can’t be as punishing as Bloodborne because I think that we have to be fair to the fans and respect the fans of Star Wars. Those games are awesome, but we have a much wider audience. We love those parts of those games, so we have to figure out a way. We’re in the process of playtesting right now and thinking about how difficult the system [is]. I can’t really answer that question because it’s still something that like we’re trying. We have something that works and it works for a certain group, but we need to find a final solution.
There’s a moment when Cal sits down and seems to meditate. Is that the equivalent of a bonfire or lantern?
Yeah, that’s a save point. We have those scattered throughout the game. He goes in and he meditates. And in there you can also access your skill tree.
And the blue and white bar on screen. Are those Force powers and guarding/resistance?
Right. So the blue bar is your Force power. Every time you use a Force ability it gets spent. You build it back up by swinging at enemies, so you have to be offensive.
That’s the Bloodborne inspiration then.
But the white bar is your block and enemies have the same thing as well. They’ve got health and they’ve got a block bar. So if you go in and start wailing on an enemy and they’re just blocking all the time, you can break their guard.
And there were moments that had a parry-style look, like Sekiro.
Yeah, it’s actually funny when I first played Sekiro, I was like, “It’s almost the same control scheme that we have.” It’s very similar. Like I jumped in and said this feels like our game but it’s hard as f**k. Yeah, the parry has a window that is somewhat tight, but I think a lot of people will get it. That’s also how you deflect shots, like blaster shots. If you just hold [the button down] Cal will bounce them in different directions, but you can reflect back to your enemy by hitting [parry].
So returning a blaster shot is the skill-based part of a reflect ability that is otherwise quite accessible to pull off.
Yep. And any time an enemy is swinging there’s a window where if you hit it, you’ll be able to topple them.
How did it feel to play Sekiro and see ideas that were so similar? That seems to happen a lot, with people coming up with similar ideas despite being completely secluded from each other.
I came into and work and said, “People are going to say we stole Sekiro’s stuff and put it in this game.” But we didn’t! I think the other similarity is you can jump in that game so that makes it a much more agile and faster than the other [From Software games]. Our game has a lot of speed to it.
How much platforming and puzzle-solving do you want in the game? That’s the kind of thing that engages video game fans, but may be a snag for just random Star Wars fans.
They won’t be arbitrary. We use puzzles as kind of a pace breaker. We had some pretty tricky ones in the God of War games, but for this game we’re not doing things that are tricky, but they’re still clever. The three main pillars are exploration, level design, which includes problem solving, and combat. And I would say the lion’s share of it is probably combat. Even within combat, it can feel like a puzzle.
You have a lot of weight on you. You’re handling Star Wars, so there’s that. You’ve got God of War 3 to your name, so there’s an expectation of quality. And then it’s a game from Respawn, a studio that always hits a high bar.
Don’t wanna screw that up!
How do you deal with that pressure and expectation?
Yeah. A lot of it is just leaning on my team and the incredible support we give each other. We all know we have the weight of the world on our shoulders, so to speak, and I kind of feed off of that. You kind of have to. The other thing too is you just can’t worry about it all the time. You know, if I make a mistake, if we make a mistake on this, then we learn from it and we’re going to the next thing. But we can’t be afraid to fail. So we’ve taken some risks; I think calculated [ones]. Hopefully it works out.
Do you see a future beyond this for the story of Cal? Is this the first chapter of a series?
I don’t know that we’ve really decided what’s next, but he certainly is a character that we can take to different places.
It was kind of interesting because Steam had a big sale on Star Wars games right when the deal was official. It was a pretty small team then and everybody downloaded [them] and played these different Star Wars games. Of course we played them growing up, but over the years what you remember about them might not have been exactly the way it was. In spirit, a lot of that stuff ended up informing us on things that we’re doing in the game.
What do you want people’s biggest takeaway from what they’ve seen so far to be? There’s so many people coming at this for different reasons and latching onto different things. What do you want them to be thinking about when they’re looking at Jedi Fallen Order?
That’s a good question. I mean, the thing that I don’t want to be misrepresented here is that this is a linear game. You just saw a large chunk of linear gameplay that we would call a Star Wars spectacle, a wow moment. [Editor’s note: Asmussen is referring to an extended gameplay video featuring an AT-AT that was shown behind closed doors.] That is one of a handful of things like that that you’ll find in the game that are very scripted and linear. But most of the game is through player choice and agency for where they want to go based on the abilities that they have. I would want to make sure that everybody has a good impression of what the moment core game experience is.
Final question: Have you played the new God of War and if so what do you think of it?
It’s fantastic. It’s fantastic.
Did Cory Barlog show or mention it to you before you left?
Well, before I left Sony, I knew what the idea was. I thought that Kratos being a dad was going to be a tough sell. But Cory was very earnest about it and you could see that he had a passion and he knew what he wanted to do with it. And it totally worked. It’s awesome.
