Season 6, Week 5 of Fortnite has officially begun, meaning the next batch of challenges is now live, ready and waiting for you to complete them. This, it turns out, is easier said than done as there’s a couple of tricky challenges among them. The first of these involves finding five flaming hoops and jumping through them using a Shopping Cart or ATK. You might remember this one from previous seasons, as it has been used before. However, the exact locations of the flaming hoops have changed, so you’ll still need to dart around the map looking for them.
Or, alternatively, you could use our handy dandy guide here. We’ve found the flaming hoops and launched ourselves through them. Below you’ll find a list of the exact locations of the hoops, along with a map that offers a visual representation of their locations. All you have to do is head to the points and do your best Evel Knievel impression. Just remember to grab an ATK or Shopping Cart along the way. You can also watch the video above to see us do it. Here’s where to go:
Fortnite Season 6, Week 5 Flaming Hoops Locations
East of Retail Row on Car Sculpture
East of Paradise Palms
Northeast of Lucky Landing
North side of Dusty Divot
Between Risky Reels and Wailing Woods
Alongside the weekly challenges, Fortnite developer Epic Games has also kicked off Fortnitemares, a Halloween event with its own unique selection of challenges. The event is quite different from anything Fortnite’s battle royale mode has done before, as it includes an element of PvE.
“During Fortnitemares, you’ll face off against Cube Monsters in a whole new way of playing Battle Royale,” Epic explains. “There are new weapons to fight back against these creepy creatures, like the Six Shooter and Fiend Hunter Crossbow. Take out the Cube Fiends and Fragments to pick up loot, and survive against enemy players.”
The reward for completing the Fortnitemare challenges is cool new cosmetics, including a special skin. The Deadfire Outfit is described as a “new type of reactive outfit” that, as you progress in a match, will change. The shift in visual style is dependent on the damage you deal to your enemies and also how long you’re able to stay alive. The skin also comes with the Shackled Stone Back Bling, and the Dark Shard pickaxe is also available in the store. These are also reactive cosmetics.
All this was rolled out as part of the latest patch. Take a look at the full Fortnite update 6.20 patch notes for more on everything that has been changed, tweaked, added, or removed.
With all of the big games launching between now and the end of the year, it can be easy to forget about all the games that came out in the past year or so. Sony hopes you won’t forget many of the recent PS4 exclusives. With that in mind, the company has dropped the suggested retail price of four of its big games: God of War, Detroit: Become Human, Uncharted: The Lost Legacy, and the PS4 remaster of Shadow of the Colossus.
Two of this year’s biggest PS4 exclusives, God of War and Detroit: Become Human, both got $20 price drops, bringing them down to $40 apiece. Uncharted: The Lost Legacy and Shadow of the Colossus are available for $20 each going forward.
Buy Detroit: Become Human — $40
Buy God of War — $40
Buy Shadow of the Colossus — $20
Buy Uncharted: The Lost Legacy — $20
Permanent price cuts are common for older games, though some companies are more forthcoming with them than others. You can count on getting last year’s Call of Duty for about half price by the time the next installment rolls around, but Nintendo tends to keep prices for its first-party games etched in stone for as long as possible. For instance, The Legend of Zelda: Breath of the Wild, which came out well before any of these PS4 games, still sells for $60 on the Nintendo eShop and $55 on Amazon.
This isn’t the first time Sony has given PS4 games permanent price drops, either. Earlier this year, the company released the PlayStation Hits line of games, in which 15 titles–most of them PS4 exclusives–were given a special red case and a $20 price point.
This week’s US PlayStation Store sale is now live, lowering prices on a selection of PS4, PS3, and PS Vita games. Better yet, the Sale of the Dead continues this week, giving those looking for frights a chance to save some cash. To top it off, a handful of first-party games have gotten permanent price drops. As usual, PS Plus members get an additional discount on some of these deals. Now let’s take a look at the best games on sale between now and October 30.
Starting with the price drops, it’s nice to see some of the year’s biggest PS4 games leaving their original price tags behind. If you missed out on either God of War or Detroit: Become Human they’re now available to buy for $40 each. Meanwhile, Uncharted: The Lost Legacy and the PS4 remaster of Shadow of the Colossus are down to $20 apiece. These new prices aren’t going anywhere, so you can pick them up at your leisure.
As for the temporary discounts, Epic is doing a Fortnite sale this week and next. During that time, you can get any Founders Pack on the PlayStation Store for half price. That includes the Standard Founder’s Pack for $20, Deluxe for $30, Super Deluxe for $45, and Limited Edition for $75. Each one comes with the Save the World PvE mode, plus an array of in-game heroes, weapons, llamas, piñatas, and other digital goodies.
SEGA has delayed Team Sonic Racing to May 21, 2019.
In a statement provided to IGN by a SEGA representative, SEGA says the decision was made “to deliver the highest quality experience to fans” and that the extra time “will ensure delivering an unforgettable experience that fans can enjoy for years to come.”
You can find SEGA’s full statement below:
“Team Sonic Racing is the ultimate blend of arcade and fast-paced competitive style racing, featuring your favorite characters and environments from across the Sonic Universe. To deliver the highest quality experience to fans, SEGA has decided to delay the launch of the title.
The upcoming Wreck-It Ralph sequel is called Ralph Breaks the Internet, and that’s practically what it did, at least amongst Disney fans, when the trailer first premiered.
That’s where we got our first glimpse of a scene where Vanellope von Schweetz, the princess (and president) of the video game Sugar Crush, came face-to-face with all the other Disney Princesses in the green room of OhMyDisney.com.
It’s a confrontation that goes in unexpected directions, from the classic princesses’ inability to understand why Vanellope has never been kidnapped and why she doesn’t have “daddy issues,” but at least they can bond with their shared frustration when the male characters get all the credit for saving the day, and their mutual love of comfortable clothes.
The Little Drummer girl may not be a new story – the John le Carré novel was first published in 1983 and adapted into a film starring Diane Keaton in 1984 – but its signature blend of romance, spycraft, and political thriller is a unique cocktail – one that captivated director Park Chan-wook (Oldboy) from the start.
“Ever since I read The Spy Who Came in From the Cold as a teenager, I became a fan of John le Carré,” Chan-wook says in our exclusive behind-the-scenes first look at the series above. “I’ve read his books as soon as they were published in Korean. As soon as I read The Little Drummer Girl, I concluded that, in my opinion, it is his greatest novel.”
Showrunners Simon and Stephen Cornwell – the author’s sons – are equally enamored with it, following their previous AMC adaption of their father’s The Night Manager. “The Little Drummer Girl is an extraordinary thriller, it’s a great love story, in what is a very intense and conflicted political environment,” Simon Cornwell explains.
Everyone, including Ralph Breaks the Internet’s new character Yesss, knows the first rule of the internet: Don’t read the comments. Yesss, played by Taraji P. Henson, dispenses that wisdom to Ralph when the big guy stumbles into the comments room in the upcoming sequel. The scene raises a question: If you’re not supposed to read the comments, why have a comments room at all? Because that’s just how the internet works, as envisioned by the minds at Disney Animation.
Of course, Ralph (John C. Reilly) and his good pal Vanellope (Sarah Silverman) have to actually get to the internet before Ralph can break it. The original Wreck-It Ralph centered on the duo’s arcade, which was grounded in the real, offline world. But in Ralph 2, Mr. Litwak (Ed O’Neill) buys a router, and that gives Ralph and Vanellope the fiber-optics highway they need to get online. With that concept in place, Disney had its work cut out: What is the internet like in the world of Wreck-It Ralph?
For inspiration, they looked to a real world hub of the internet: 1 Wilshire Blvd. in Los Angeles. This building is apparently a crossroads for all the internet traffic in North America–it all passes through 1 Wilshire. “This building is literally filled from top to bottom with wires and boxes,” said Ralph Breaks the Internet co-director Rich Moore. “It was this research trip that began to inspire our version of what the internet might look like.”
They took the look of 1 Wilshire, with all its multicolored wires, tubes, motherboards, and blinking servers, and combined it with the architecture and layout of a city, the endless screens of Times Square, and the signage and personality of an average street. The next step was natural: “If the internet was a city, the buildings would be the websites,” said Matthias Lechner, the art director on environments.
So in the city of the internet, each website has its own building. That makes sense. But like the TARDIS, those buildings are bigger on the inside. “When you go in, much like the arcade games, they have their own world that’s kind of abstract,” said head of environments Larry Wu. Those worlds consist of things like, in the example of eBay, hundreds and thousands of auction booths where users are bidding on various items.
The environments team showed us an early test render that included tons of internet features, translated for the movie’s cityscape language. “If you enter a travel website you get handed free cookies, and the website is made of suitcases,” Lechner described. “There’s somebody hashtagging with a spraycan on the wall. Somebody’s cleaning up a data leak. These clocks in the center here are the loading wheel that you would find on your computer–because in my mind, the time you spend between websites is basically the time it would take to load on your computer. I’m trying to find some kind of logic in it.”
Ralph Breaks the Internet features 150 master sets (what the studio calls unique environments where the characters spend some time) and 5,736 unique assets, most of them concentrated in the movie’s conception of the internet. In a given wide shot of the “city,” there are 100,000 disparate elements.
“The internet is building on top of itself all the time, right? So down at the bottom we might have a Myspace or a Netscape, but then like, Google has just been going and going and going, so it might be one of the biggest buildings in the internet,” said head of characters and technical animation Dave Komorowski.
“In reality, the internet consists of the surface web, which is what you can reach through your browser or is searchable, and then there’s the deep web, and the deep web is actually quite boring–it’s archives, software, things behind paywalls, this kind of stuff that you can’t just reach through a simple click in your browser,” described Lechner.
Underneath that is the dark web. “We imagine that our city is basically floating above this big abyss, which is the deep web, and at the very bottom of it, we imagine that all the discarded and outdated stuff sort of collects at the bottom,” Lechner continued. “So you’ve got the Dial-Up Express, for example, which can only move as fast as the loading bars, that was the old transportation. And then if you take an encrypted elevator underground, there’s a small area, the seedy underbelly of the internet, and this is where the users are all anonymous, where you can meet a lot of tricksters and viruses, and Ralph really shouldn’t be there.”
Residents of the Net
Anonymous or otherwise, it’s not just internet users like you and me who populate Wreck-It Ralph 2’s online metropolis. This world is full of characters, only half of whom are net users. The other half are Netizens, who fill a very different role.
The visual inspiration for the net users that represent real people were iOS app icons and the avatars that we create in various games and apps, according to production designer Cory Loftis. They’re square-ish beings of uniform shape and size who seem deliberately customized–they’re basically all the same, with different outfits, haircuts, and accessories.
Then there are the Netizens, the internet’s native population. They’re how things get done. “If you send an email, one of them is going to deliver it in a mail truck,” Loftis said. “If you put something in your shopping cart, one of these Netizens is going to push that shopping cart to the check-out line and check you out. They are basically fulfilling all of the actions that you’re performing on a website. They’re kind of the worker bees of the internet.”
And they have personality. “They’re thinking beings. They’re sick of us,” chuckled Komorowski, the head of characters and technical animation. “We irritate them, I think.”
The filmmakers had to consider so many things–like how do user characters react to stimuli like users moving their mouse around? How is that cursor movement represented within the internet’s world in the first place? How do different residents of the net get around? (Netizens can travel freely, while users are ferried from site to site in self-driving cars.) What would something as simple as a user browsing for items on Amazon or searching for tacos on Yelp look like?
Another important question for the movie’s story team: How are memes made? Are there production lines of Netizens churning out viral content? Is there a meme factory that automatically generates random combinations of words? Or does Yesss simply design them all by hand?
The production team showed us tests they created early on, not for use in the final film, but as proofs of concept. Users carried out their actions while Netizens scrambled around to fulfill them. There’s always a funny twist, like the user getting distracted by a video on their phone halfway through checkout, or texting and driving while a GPS Netizen is trying to give them directions.
There are also specialized Netizens who stand out from the worker bees, like the character Yesss, who was designed to be someone who’s so cool you actually believe she’s an authority on every trend in existence. The search engine KnowsMore is another example. Design-wise, he started out as a lightbulb or an owl, before the production team landed on the humanoid, professorial Netizen in the final movie. There are even construction worker Netizens who are in charge of updates when a site goes under construction.
Not every website needed a specialized Netizen, though. “We went to a lot of websites to see what you actually do on there,” Loftis said. “Like Twitter, there’s not a lot going on when you go on there. You’re pretty much typing your message and you’re sending it out to the world. So we didn’t feel like there was really a place for Netizens to live in there. What would they be doing? Like, you could imagine they were keeping coops of birds or something like that, but we were like, ‘No, it’s simpler just to have the birds deliver the tweets themselves.'”
“And we went through that with every single website,” he continued. “We tried to think about what you’re actually doing, what function is being done by the user, and what would the Netizen be doing? So we tailor-made those Netizens for each particular website, because each of them is a little bit different.”
This movie’s title promises that Ralph is going to break the internet, and for that to ultimately be meaningful, the internet has to be a place we develop some connection to in the film. Disney tried to strike a balance between real-world logic and the amount of whimsy that the story actually required.
“I think we had a phase in the beginning where we probably got too technical, because after you do the research, all the things that you learned, you want to put in the movie,” said Lechner, the art director on environments. “But then just by story needs, you figure out what you need and what you don’t need. The thing is, we didn’t really build the internet. Everybody knows the internet, and it’s not [a city]. So at some point, the city just becomes itself, and you just have to make it believable and make the audience buy it.”
It may not be our internet, but if the filmmakers have accomplished their goal, it could be a place we enjoy even more. Ralph Breaks the Internet hits theaters November 21. If you want to learn more about it, check out how the movie doesn’t shy away from the internet’s dark side, or our condensed list of everything we learned about the movie from Disney.
Jump Force, the fighting game featuring a variety of characters from the popular Japanese manga anthology Shonen Jump, now has a release date. Bandai Namco has announced that it will release on February 15 for PC, PlayStation 4, and Xbox One.
The date was revealed as part of Paris Games Week, and appropriately enough, the game also debuted a new Paris stage. The new trailer shows a fight between Ryo from City Hunter and Kenshiro from Fist of the North Star battling it out in the famous city, complete with some of its most iconic landmarks.
Jump Force is a who’s who of popular anime and manga characters. The newly revealed box art features Goku, Naruto, and Luffy. Some characters, like those from Death Note, are presented to further the story but not playable. The game appears similar to Dragon Ball FighterZ from Bandai Namco, which focused strictly on Dragon Ball characters.
Dragon Ball FighterZ was a smash success for Bandai Namco, as well as a critical standout. Part of that is the distinct visual style that captured the heart of the anime, but it’s also a solid competitive fighting game in its own right. In GameSpot’s review, critic Peter Brown said it was much more than a nostalgia trip.
“Where past games attempted to get there through huge character rosters and deliberately predictable trips down memory lane, FighterZ has bottled the essence of what makes the series’ characters, animation, and sense of humor so beloved and reconfigured it into something new: a Dragon Ball fighting game that can go toe-to-toe with the best of the genre,” he said.
CBS All Access today has announced its next original Star Trek production. Star Trek: Lower Decks will be a new half-hour animated comedy series developed by Rick and Morty writer-producer Mike McMahan. The series, which has a two-season order, will be about the support crew on “one of Starfleet’s least important ships.”
A new animated Star Trek show has been rumored for months as one of the candidates in the array of possible new Trek ventures being plotted out by CBS and executive producer Alex Kurtzman, who is overseeing the entire TV franchise for the streaming service. Last summer reports emerged that Kurtzman, who is the co-creator and current showrunner of Star Trek: Discovery, had signed a five-year, $25 million deal with CBS Television Studios to create at least four new shows set in the Star Trek universe.
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