Monster Hunter World: Iceborne Review – Borne Again

Monster Hunter World’s first paid expansion, Iceborne, is now available on PS4 and Xbox One. Our review has now been finalized after a brief stint as a review in progress. For more, check out our Iceborne tips guide.

Monster Hunter World: Iceborne is more of the same, glorious slog for everyone who’s ever been taken down by a fire-breathing facsimile of a Tyrannosaurus Rex and thought, “I can’t wait to do that 50 times over.” The franchise has always rewarded those willing to put in the hard yards, and Iceborne is no exception. It adds more of what set the base game aside from its predecessors without feeling overcrowded, even if its narrative could have used a little more work.

Monster Hunter World was an exercise in refinement upon its release in early 2018. Not only did it manage to simplify a franchise-wide burgeoning quest system, but it also had a very successful stab at creating an open-world ecosystem absolutely teeming with things to do and colossal monsters who want to hunt you. Best of all, these changes never overwhelmed–the new mission and upgrade systems that were introduced were relatively straightforward to grasp, all whilst leaving room for experienced hunters to master them.

Screenshot provided by CapcomScreenshot provided by Capcom

Since the game’s launch, the game has seen a steady drip-feed of DLC content in the form of in-game events. Many of these follow the formula of transplanting something fearsome into an already familiar environment–the Witcher 3 crossover saw a Leshenn loom large in the Ancient Forest, and the Final Fantasy XIV collaboration had you running for cover when Behemoth reared its head. The design philosophy behind Monster Hunter World: Iceborne takes a similar approach in implementing that sort of content, though on a larger scale; it uses touchstones in the form of storied foes and familiar locations to build upon the robust ecosystem of the base game to deliver an experience that will test your mettle without breaking you.

Iceborne is all about building on existing foundations. This is most evident in the narrative that has been spun out in the wake of the base game’s single-player campaign. Monster Hunter World was notable for introducing a clear-cut, story-based incentive to throw yourself against the biggest and baddest beasts out there. Iceborne takes a slightly crooked step forward by spinning a story that revolves not around you, but around your Handler.

Shortly after the successes of dealing with the base game’s Elder Dragon predicament, a mass migration event shakes the recovering ecosystem of Astera and prompts you to investigate. What comes next is a tale of family legacies, mysterious scales, and your Handler embarking on her own personal quest. To shift the focus of a story from the protagonist to what is essentially a side character is a bold one–for all the aid and assistance that the Handler gives in Monster Hunter World, she’s still fundamentally a living, breathing quest board. Monster Hunter World players will no doubt have become attached to her over the course of their travels, but is that attachment is deep enough to shoulder a full expansion’s narrative conceit? Not quite.

Screenshot provided by CapcomScreenshot provided by Capcom

As soon as you’re introduced to the latest curveball about Iceborne’s new signature location, Hoarfrost Reach, and how that intersects rather conveniently with your Handler’s past, you’re immediately whisked back to lands and territories from the base game to cull a couple of monsters that have gotten too big for their boots. It’s not exactly narrative whiplash, but it’s certainly not as compelling as it would have been had we been the ones to follow the Handler from the first step of her journey to the new lands of Iceborne.

That said, revisiting those familiar locations early on to take down new and improved versions of killer dinosaurs that you’ve faced before is one of the most compelling parts of Monster Hunter World: Iceborne. As with the DLC strategy, the building blocks of the expansion are steeped in elements that existing players are already acquainted with. You’ll cut your teeth on monsters like the Nightshade Paolumu–a variant on the oversized flying squirrel encountered early on in the base game, though this time with the lethal ability to put unsuspecting hunters to sleep. The expansion arguably doesn’t open up until you’ve also vanquished the Viper Tobi-Kadachi–a souped-up version of its cousin from the Ancient Forest, albeit with poisonous projectiles and a bite that’s much more dangerous than its hiss.

The changes that Iceborne makes in the form of these variant breeds has a twofold effect: First, they provide you with a motivation to form new strategies to slice and dice their way to the next story beat. Secondly, they’re just distinct enough in terms of attack patterns and additional elemental considerations that you never really feel like you’re just fighting a reskin of something that you made mincemeat out of 80 hours ago. It’s as if there’s been a concerted effort to balance the difficulty of what many fans might rightfully view as the second coming of the coveted “G-Rank” in this latest iteration of Monster Hunter.

Screenshot provided by Capcom

Screenshot provided by Capcom

Screenshot provided by Capcom

Despite some focus on iterating established systems, there are innovations introduced in Iceborne that truly set it apart from its predecessor. Brand-new monsters and the implementation of legacy series favourites like Nargacuga look and feel impressive thanks to all the new ways monsters can interact with other beasts and the various locations. But more importantly, there is a library’s worth of new weapon moves for you to take advantage of.

Charge Axe users can now cancel into a particularly fun multi-directional attack when caught unawares, and Gunlance users no longer have to worry about running out of ammo in an emergency before getting to use their new signature move that is, quite literally, explosive. Hunting Horn users have also had their ability to do damage buffed, with the addition of a new move that lets you stick your horn in the ground and spin it like some kind of demented Beyblade to catch whatever’s charging towards you off guard. That’s just a few new examples, but overall these additions seem to be informed by the dual precepts of style and lethality.

However, the biggest quality-of-life addition has been something called the Clutch Claw–every hunter can use this alongside their primary weapon to grapple onto their foe and, depending on what other sharp object is equipped, do anything from steering a rampaging wyvern into a rock face to weakening a specific part of its body that needs to be lopped off.

Screenshot provided by Capcom

Screenshot provided by Capcom

Screenshot provided by Capcom

Using the Clutch Claw is by no means compulsory, so it fits in that nice niche where it can make your hunts a little bit easier or a little bit more exhilarating in equal turns. But you’re not forced to use it to feel like you’re getting your money’s worth if, say, you’re a veteran player trying to do your own version of Nuzlocke rules but with items. However, having the option and ability to scale up the side of a monster after landing a savvy shot with the Clutch Claw feels ridiculously satisfying, and so does driving a beast to its doom in the many treacherous terrain pitfalls that dot the newest, snow-covered region of Hoarfrost Reach.

That new, frosty landscape is beautiful and treacherous in equal measure. With new foes, more verticality than the Coral Highlands, and frozen terrain that can crack and send you plunging to your death, it really is a sight to behold. More than ever, it feels like the environment can be turned against you; some monsters will uproot trees and throw them at you, while the wrong move on cracked ice can mean certain death.

By that measure, however, there are also more opportunities to get the jump on your enemies, especially with the Clutch Claw giving you the ability to walk them into vine traps, blinding light, and more. Having a grasp of every bit of the map is integral to truly mastering what Iceborne has to throw at you, and it’s incredibly satisfying when everything suddenly clicks and you go from the hunted to the hunter leading their prey to a painful trap that attempts to even the scales.

Screenshot provided by Capcom

Screenshot provided by Capcom

Screenshot provided by Capcom

Being dropped into this intricately-designed location as a relatively new player may be overwhelming, but no matter your experience level, joining up with other hunters and picking your way through this icy dens of beasts together is incredibly rewarding in its own way. Iceborne benefits from the matchmaking improvements introduced since the release of the base game, which have made it relatively seamless on console to find fellow hunters–no more messing about with PlayStation parties and friends lists–and dropping into a party to help friends tackle these fearsome monsters is easy.

Monster Hunter World: Iceborne is at its best when you’re fighting tooth and nail against something that you know could crush you within its teeth in a second, even though this might feel like it came at the expense of a more interesting narrative. Nothing is quite as good as the biting chill cutting through the furs of your armor, the shrill cry of your Palico as it comes to your aid, and the wind roaring in your ears as you latch onto a beast’s flank and climb up its side while it bucks and roars.

This expansion is rife with moments like that; all of the tweaking and the improvements feel like they were done with the excellent building blocks of Monster Hunter World in mind, which means that getting to the meat of the matter is quicker and more satisfying than ever. There’s no more fussing about with new systems or worrying about ruffling the feathers of hardcore fans with a direction change in the series; those teething problems have already come and gone. Iceborne is a confident step into the future of the franchise, and it’s hard not to think about what might come next.

This Xbox One Games Sale Includes A Bunch Of Absolute Bangers

The products discussed here were independently chosen by our editors. GameSpot may get a share of the revenue if you buy anything featured on our site.

The Xbox One‘s latest set of game deals is a good one, with the likes of Red Dead Redemption 2 and Resident Evil 2 headlining the lot. In fact, many games from the Resident Evil series are discounted, and if you’re a Gold subscriber there are even more deals for you to choose from.

No Caption Provided

Red Dead Redemption 2 is currently $36 USD / $48 CAD / £36 for Xbox Live Gold subscribers. Unfortunately, there is no discount for non-subscribers. Battlefield 5, on the other hand, is discounted to $19.80 USD / $26.40 CAD / £19.80 for everyone. The Resident Evil series’ deals are also available to all. Resident Evil 2 leads with the discounted price of $36 USD / $48 CAD / £36.

Xbox is also holding a Double Discounts with Gold and Ultimate sale. All of the games included in this sale are discounted for regular Xbox users, but if you’re subscribed to Gold or Xbox Game Pass Ultimate, you’ll be able to save up to 50% more until September 16. This includes games like Cuphead, Rocket League, and Overcooked. You can see all of our favourite deals in the list below. All of the prices shown include the extra discount for Gold members.

A Timer Is Counting Down to a New Final Fantasy 7 Remake Trailer

Square Enix has released a new timer that’s counting down to the release of a brand new Final Fantasy 7 Remake trailer. The counter is set to hit zero on September 11 at 7 am PT/10 am ET/3pm BST/ 11pm JST.

On Square Enix’s official Japanese website for the Final Fantasy 7 Remake, you’ll find a digital timer made to look like Nixie Tubes. It clearly says “New Trailer” atop the timer, so we can presumably expect one of those to go live once the timer hits zero.

Screen Shot 2019-09-10 at 3.18.16 PM

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5 Assassins Who Are Killing It

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For Ray Shoesmith, being a hitman is just another day at the office. In Mr. Inbetween (Season 2 premieres September 12, at 10 on FX), Ray is balancing his “criminal for hire” employment with being a dad, brother and boyfriend. His job is demanding; requiring a personally defined code of ethics, the ability to operate in a shadowy world and the sense to not care what people think. And that’s just to get out of bed in the morning. After that, he still has to pick his kid up from school, take care of his brother, and try to find a shirt without blood stains for tonight’s date. Honestly, the guy should take some “me” time and relax sometimes. Play a video game. Have a cup of coffee. Heck, maybe these five assassins can meet up with Mr. Inbetween, grab a drink, and talk about what made them fall in love with the job in the first place.

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Mayans MC Gloriously Takes Down Sons Of Anarchy Fans

It’s no secret that Mayans MC has been loaded with Easter eggs from and nods to the Sons of Anarchy universe the show is set in, which is undoubtedly exciting for fans of FX’s original motorcycle club series to see. In the show’s latest episode, though, the show took aim at some fans that might take the world of Sons of Anarchy a little bit too far.

In the new installment, titled “Xaman-Ek,” EZ (JD Pardo) and Angel (Clayton Cardenas) are on a road trip when encounter a strange motorcycle club neither have heard of before. Two members of the club try to intimidate the Mayans, proclaiming the bikers are on their turf. Showing that the Mayans aren’t to be messed with, Angel pulled a gun and chastised the duo that didn’t know any better.

“You poser f***ing douchebags. You guys watch some bulls*** TV show and think a vest and two wheels makes you a club,” he mocked, clearly making reference to those who saw Sons of Anarchy and decided starting a biker gang was easy to do. “Hmm. I’m guessing Brad and Todd here got all their totally awesome gym bros filling up their table.”

“Jesus, man, you guys are an embarrassment,” he concluded before himself and EZ rode away.

That wasn’t the end of that particular plot, though. The Reyes brothers later ran into the small-time gang again, this time with their entire membership. Again, Angel went for his gun and fired off a couple of shots to attract the attention of police, before leading the low-level club on a chase through town. When law enforcement tracks them down, the elder Reyes points out to the rival gang the credo of “patches over badges,” meaning even clubs at war will ceasefire when it comes to getting away from the law.

At that point, the “poser douchebags” broke off from the Mayans, claiming this quarrel wasn’t over. While it likely will come back to bite EZ and Angel in the future, it was a clear victory for the titular club over the fanboys. Angel, a tried and true outlaw biker, knew the bullets he fired would draw in the police and would force the local gang to take off. While EZ may be considered the genius in his family, it’s Angel that is smart to the ways of the MC world–and protective of it to those who think they can just claim their stake in it.

This is a moment that serves as a public service announcement to fans of Sons of Anarchy that may have taken their love for the show far enough to hope on a bike and throw on a kutte. The world of outlaw motorcycle clubs is very real and very serious. Those who inhabit it may not take kindly to those playing biker and infringing on something they hold dear.

Mayans MC airs Tuesdays on FX.

Gears 5 Video Review

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Apple Reveals More Details for Apple TV+

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Borderlands 3 Composer On The “Most Varied Score” He’s Ever Written For The Series

Borderlands 3 is almost here. Gearbox’s next big looter-shooter arrives on September 13 for PlayStation 4, Xbox One, and PC. Like previous entries in the series, the music is one of its standout features. Music has been very important to the series from the beginning (the opening sequence in Borderlands 1 might have been the first time you heard “Ain’t No Rest For The Wicked”), and this theme continues with Borderlands 3.

GameSpot recently had the opportunity to interview Borderlands 3 composer Jesper Kyd, who spoke to us about many different topics. Having already worked on Borderlands 1 and 2, as well as the Pre-Sequel and Claptastic Voyage, Kyd expanded on the challenges of making new music in a series he’s familiar with, as well as what it was like working with Gearbox, how the music ties together with Borderlands 3, bringing players to multiple planets outside of Pandora this time around.

Kyd also told us more about how Borderlands 3 makes use of a “deep interactive music system” that, through some backend wizardry and randomness, allows the game’s music to sound slightly different each time you play. Additionally, he explained that, at a high level, he wanted to try new things and break from some of the series tradition, while he also described the score as the “most varied” one he’s ever made for the Borderlands series.

“I knew right away the last thing I wanted to do was add the predictable swampy slide guitar on all the music. It just felt too pedestrian for Borderlands 3, it wasn’t out-there enough,” he said.

You can see the full review below. Kyd also composed the music for games in the Hitman, Assassin’s Creed, Darksiders, and State of Decay franchises.

For lots more on the upcoming Borderlands 3 launch, check out GameSpot’s roundup that covers the pre-load details, region unlock times, PC specs, and more. If you’re looking to pick up the game, you can check out GameSpot’s extended pre-order guide to learn more about what’s available.

GameSpot’s Borderlands 3 review scored the looter-shooter an 8/10. “Borderlands 3 has a few stumbling blocks when it comes to bosses, but these fights are overshadowed by the game’s rewarding gunplay and over-the-top humor,” reviewer Jordan Ramee said.

Jesper KydJesper Kyd

Having worked on previous Borderlands games in the past, can you talk about the challenge of coming up with new ideas for a series you’re already familiar with?

After working on Borderlands 1 and 2, the last Borderlands games I scored were The Pre-Sequel and Claptastic Voyage, which were both science fiction-inspired scores mixed with the distinct feel of Borderlands. With Borderlands 3 we are back to Pandora as well as visiting new worlds such as the Eden-6 planet, which is the planet I scored. Scoring a brand-new addition to the Borderlands universe has been very exciting to work on. Eden-6 is a planet covered in swamplands and thick vegetation, so it was a very different writing experience from scoring the previous four Borderlands games I worked on. It is also the most varied Borderlands score I have written.

“Eden-6 is a planet covered in swamplands and thick vegetation, so it was a very different writing experience from scoring the previous four Borderlands games I worked on.” — Jesper Kyd

What kind of notes did Gearbox give you as it relates to the music they wanted?

They were looking for the music to help make Eden-6 sound unique from the other planets, yet at the same time help define this new unexplored world as a location that belongs in the Borderlands universe. I remember writing one of the cues that opens with a slow atmospheric guitar solo, a la Pink Floyd, and when I talked about this to the Gearbox audio director Raison Varner he mentioned the team was 100% on board with such ideas. The score I wrote doesn’t draw inspiration from any film or game soundtracks, the direction goes much further than that. Naturally the score also needed to support areas such as marshlands and wetlands and this is often mixed up with a high-tech mood, since advanced technology is ever-present.

How much collaboration was there between yourself and the team at Gearbox?

I worked closely with the audio department at Gearbox, specifically Raison Varner. We talked a lot about the different worlds I was working on and he really encouraged me to bring a lot of creativity to the writing. Borderlands is a perfect playground for me to let loose musically and after working on all the previous games and helping to establish the Borderlands sound, I was able to use a lot of my knowledge of the universe and creative energy to help push things much further this time around. That’s the great thing about returning to franchises; since you have already established the sound you can now invest time in pushing that sound further into new territories.

“Adding lots of melodies to the exploration music is something I felt would fit very well with this gameplay type. This is what I feel ties all my music together.” — Jesper Kyd

Borderlands 3 is such a sprawling game with so many different locations, characters, and moments–is there a connective tissue of a kind that ties your music together?

That’s a great observation. I feel my main menu music is a good example of the dynamic type of music I wrote for Borderlands 3. I really focused on adding a lot of melody to my writing. When playing games myself, my favorite musical moments are often those based on melody and this is something I talked a lot to Gearbox about and they loved that idea. Borderlands is such a high-octane experience, even when just exploring the maps, there is a ton of variation and entertainment throughout. So adding lots of melodies to the exploration music is something I felt would fit very well with this gameplay type. This is what I feel ties all my music together.

When you set out to make the music for Borderlands 3, what themes and tones did you want to highlight or accentuate? What kind of instrumentation were you looking to use?

I knew right away the last thing I wanted to do was add the predictable swampy slide guitar on all the music. It just felt too pedestrian for Borderlands 3, it wasn’t out-there enough. We are on an alien planet after all! So I pursued other ideas. There is a track called “Exploring The Dormant Ship” where I play a big Russian zither as well as some really warped pianos through a space echo; this really helped us realize that we could move way beyond just slide guitars and other more traditional bayou instrumentations. I then recorded a lot of vocal parts for the action part of this cue, which helps give the world a more immersive depth and richness of life.

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I recently had the opportunity to play Borderlands 3 during a preview session. That dub-step boss was a musical treat; can you talk about how that all came together and what you were setting out to do with it? The way it uses music is so fascinating.

Great! I love that you noticed that. I wrote 10 minutes of end boss music to make all that come together like that. I had this idea of making the end boss music for Eden-6 something that really stands out with an atmosphere that lifts you up. I am a huge fan of boss battles and I’m fascinated with how games use boss music; Japanese games perform these types of gameplay moments especially well. Gearbox was onboard with this approach but when we put it in the game we all realized that we needed something different to set it up before we could give people this crazy melodic lift in spirits.

To make that transition work I wrote a track for the boss battle that’s really heavy and bombastic before introducing such a shift in uplifting mood. So if you ace this epic boss battle right away you’ll move on faster and the game will take you to the next world. But if you take longer in battle the game rewards you with a new level of atmosphere which gives you a feel of rising hope, that you can overcome this challenge. On the album, that track is called “Tranquility Achieved”.

“Borderlands 3 features a really deep interactive music system with many layers and modular pieces that are randomly put together in-game, so the music sounds a bit different every time you play the game.” — Jesper Kyd

I’ve read that you’re challenging yourself to experiment with new sounds for Borderlands 3. What does this mean?

Well, I am always looking at new ways to break the mold of what is expected and then take things further or go in a totally different unexpected direction that really rewards the gamers as well as fitting the game perfectly. There are so many interesting things that can only be done in the games medium and following the path of scoring games more traditionally is a lost opportunity, since I feel we have an opportunity to create something unique or surprising.

For example, once you finally make it to the end part of Eden-6, the music track “Treasures Of The Vault” starts with a set of upbeat motivational combat cues, to get the fun factor going out in full force. It’s like a reward for the game player while at the same time reminding you that you are finally here, that this is what you have been looking for, now fight and go claim your reward. These types of ideas are important to me as a gamer and I always think like a gamer when scoring video games. I really have to give credit to Gearbox and Raison Varner for allowing my creativity to run wild during the making of this score.

What else should people know about the soundtrack for Borderlands 3?

Borderlands 3 features a really deep interactive music system with many layers and modular pieces that are randomly put together in-game, so the music sounds a bit different every time you play the game. In addition to a more unique playing experience, this results in some really interesting soundtrack versions of the music. For example, there are exploration tracks on the soundtrack such as “Enter Floodmoor Basin” which are over nine minutes in duration as well as action music tracks such as “Treasures Of The Vault” which is an eight-minute piece. And these pieces of music never repeat any parts or themes but keep moving forward and developing. So it’s progressive in structure. The soundtrack, which also features music by co-composers Michael McCann, Finishing Move and Raison Varner, is almost six hours long and there’s a vinyl release on the way as well!

Call of Duty: Modern Warfare Beta Codes Giveaway

Credit: ActivisionCredit: Activision

The Call of Duty: Modern Warfare beta test kicks off this week and we partnered with Activision to give away 500 codes to our readers. The winners will get a sneak peak of the new collection of maps and modes before the official release on Oct. 25.

To enter, read our official rules, accept our terms and conditions and fill out the form below. Get additional entries by following us on social media to increase your chances of winning!

If you are having trouble viewing the entry form please click here.

Remember to check your email on Monday Sept. 16th because we will be sending the codes to all winners around 10 a.m. PT. The beta of Call of Duty: Modern Warfare Multiplayer will be available for PS4, Xbox One and PC from Sept. 19 through 20 only.

Head to our comments and let us know what is your favorite mode and why. Good luck!

Gears 5 Multiplayer Review

Editor’s Note: For Gears 5, we’re reviewing the campaign and multiplayer modes separately, followed by our overall review and score. This part covers the multiplayer modes – be sure to check out our campaign review here and the overall review coming soon.

The Gears of War franchise’s multiplayer is special, and Gears 5’s selection of multiplayer modes carries on its tradition of excellence. If you want a break from the intensity of Gnasher shotgun quickdraws in Classic and Ranked Versus, you can swap over to the chaotic weapon party of Arcade. Or a group of friends can jump into a long session of Horde, or Escape if we you’re short on time. They’re all fun and tense, as always, and the impressive new additions fill gaps for certain playstyles and moods.

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