The best and largest selection of PlayStation 4 (PS4) video game cheats, codes, cheat codes, walkthroughs, guides, FAQs, unlockables, secrets, glitches, hints, ...
The best and largest selection of PlayStation 4 (PS4) video game cheats, codes, cheat codes, walkthroughs, guides, FAQs, unlockables, secrets, glitches, hints, ...
We are pleased to confirm that three new special edition controllers will be joining our rapidly expanding Dualshock 4 range 17th October.
Some of you may remember the popular Crystal Dualshock 4 controller from last year. Today, we’re happy to showcase its return in an upgraded form, offering both direct USB and wireless control options, as well as a redesigned touch pad that reveals the light bar from above to provide in-game cues, such as your health status.
Alongside the return of Crystal, we are excited to be expanding the range with new special edition Red and Blue models – all available from 18th October. Both colour crystal editions feature the same striking translucent design with an added vibrant colour hue, so you can find a model to suit your style.
Let us know what your favourite Crystal edition is in the comments, and check out the rest of the range here.
*Crystal range not available in Russia. Red Crystal and Blue Crystal not available in the UK. Please check with local retailers for further details regarding price and stock availability.
Earlier this year, we travelled to the Guerrilla studio in Amsterdam to talk to the audio team about the importance of sound in Horizon Zero Dawn and the ways in which the game makes use of the Platinum Wireless headset’s 3D Audio technology. The resulting video, which you can watch below, provides a brief but tantalising glimpse into the world of audio creation:
It became obvious that there was much more to cover regarding the audio in Horizon Zero Dawn, so we reached out to three members of the audio team – Audio Lead Bastian Seelbach, Sound Designer Pinar Temiz and Senior Sound Designer and Music Supervisor Lucas van Tol – to gain further insight into the team’s creation process, the challenges they faced and the creative decisions they made.
Defining an Audio Style – Bastian Seelbach, Audio Lead
When did Guerrilla’s audio team become involved with Horizon Zero Dawn?
Bastian: The audio team got involved in the early days of the project planning phase, helping to find a audio style that fit the initial vision for Horizon Zero Dawn.
During those days, a lot of the game was still in its conceptual stage. Research for Horizon Zero Dawn took a long time, as it was entirely different genre of game; this made it necessary for us to leave our comfort zone and approach a lot of things quite differently.
How did this approach differ from previous projects?
Bastian: The difference wasn’t just in terms of defining the audio style, which was unique and fresh, but also in terms of tackling the huge technical challenges ahead. A lot of our previous approaches to audio wouldn’t work anymore.
From a technical perspective, it was the sheer scale of the game that forced us to approach the sound design and most of the related audio systems very differently. While Guerrilla had a lot of experience with more linear first-person shooters, the world of Horizon Zero Dawn was entirely open. That made it necessary to find a systemic approach for a lot of things that had been hand-crafted up until that point.
To that end, Senior Sound Designer Anton Woldhek worked closely with Principal Tech Programmer Andreas Varga to hammer out the tools and systems we would need to ship a game like Horizon Zero Dawn. And, in the meantime, we started making decisions on what would become the audio style outlines for the game.
Can you give an example of systems you required?
Bastian: Some of the systems we required helped us place large parts of the content automatically, using a game data driven spawn logic. Other systems, like the ones we used for reverb and occlusion, helped ensure that our sounds felt natural within their position in the world.
How did you go about the immense task of defining Horizon Zero Dawn’s audio style?
Bastian: Horizon Zero Dawn is a huge game. It has a lot of different environments, cultures, wildlife and machines, as well as a fantastic story that ties the world together. The world offers a lot of contrast; while mankind lives in pre-industrial tribes, highly advanced machines roam the world.
Our approach to defining the audio style of Horizon Zero Dawn was to not nail everything down in one ‘audio bible’ from the get-go, but rather to follow an organic process of incremental decisions. You could call it an evolutionary process.
In fact, the entire studio was working that way for a while, as the world of Horizon was defined early on but the exact genre, its features and storyline crystallized over time. So the audio team had to make decisions based on the decisions that were made for the entire game.
How would you describe Horizon Zero Dawn’s audio style?
Bastian: If I were asked to come up with a name for Horizons Zero Dawn’s audio style, I’d probably suggest Na-Fi (Natural-Fiction). Whatever sounds were required had to be believable within the world first and foremost, and we are talking about a realistic, beautiful world. So the sounds we created had to be grounded and a part of their surroundings.
Creating the Machine Sounds – Pinar Temiz, Sound Designer
When did you start working on the sounds for the machines?
Pinar: Most of the core design and implementation decisions for the machines were made early on in the project. Of course, the machines changed and evolved as the project went on, but the core idea of giving them an animalistic and a high tech quality was born early on. Another constant was that the machines were going to be quite varied in terms of size, behavior and look and feel. We knew it was a wide spectrum.
How did you plan to implement such a large number of machine sounds?
Pinar: A large portion of the implementation methods we used were informed by our experiences working on the automata for Killzone Shadow Fall. The scope was vastly different, of course; the challenge wasn’t just striking a balance between ‘machine’ and ‘animal’, but also doing this for numerous machines in an open world, where they might appear in any number of configurations.
On top of that, we had to make sure that each machine type remained recognisable, yet coherent as a whole, while offering readable cues for gameplay-critical moments. And on top of that, we had to ensure that everything could be scaled, iterated, optimised and mixed.
That sounds like a tough act to balance.
Pinar: Oh yes! Another question on our minds from the get-go was how to tie Sound Design to AI, Animation and VFX, and yet remain independent enough to make creative choices that were not inherent in the machines’ original design documents – thus remaining purely in the audio domain, without needing to be addressed by those other disciplines. Luckily, our tools allowed for designers and coders to work quite independently, which meant one could implement almost any idea and see the results in-game without having to wait or tax on other’s time.
So how did you determine the right balance for each machine?
Pinar: In terms of content, it was a new challenge with each robot. Blending a lot of different sources was obviously a method we used a lot. You’ll find electronic sounds, real-life animal sounds and various kinds of material, from synthetic to organic – all edited and processed until we achieved enough variations and a tone that fit the machine. Our sources changed a lot based on the size of the machine, its function in the world of Horizon Zero Dawn, and its animation. The latter offered a lot of character cues for us to latch onto.
Can you give an example of these character cues?
Pinar: A classic example for us is the Shell-Walker, which came together relatively fast in terms of its sound design. Anthropomorphising the machines helps with drama, because the moment we first looked at it, we thought “He looks like a cute grumpy crab-guy!”
When you look at him you get the sense that he works all the time, mumbling to himself as he goes, obsessed with his little container box. Maybe he has a few colleagues that he hangs out with, but that’s about it – he’s constantly annoyed with something and has no life outside of work. These notions didn’t come from a document, they arose in our minds as we imagined how he might sound while he worked. And so the vocalizations were imagined and designed as close to that ‘feeling’ as possible, using both animal sounds and electronic elements.
Another example is the Watcher, which has its own character: more playful, curious yet dangerous in its own way. We always thought of it as a crazy Chihuahua. One moment it’s all cute and curious, the next it’s ready to bite your hand off.
Did you approach the ancient machines differently from the new ones?
Pinar: Certainly. For example, movement sound tended to be unified along machine factions. There are essentially two core factions: the new Gaia-designed machines, all futuristic, high-tech, efficient and clean. Then there’s the ancient machines, left over from the war, built using technology that is closer to what we see as cutting edge today.
Sonic differentiation between the two was based on the materials, especially the lack of vocalisations and the amount of metal and mechanical elements we chose to use. We also added elements to their movement sounds that stand out just enough for players to be able to recognise the type of the machine. This wasn’t just limited to subtle cues indicating their weight and size, but also encompassed details such as whether they carried liquids, like the Bellowbacks, and whether they had weapon systems with elemental effects.
The new machines are made out of exotic, futuristic alloys – how did you find a sound for those?
Pinar: Personally, I used very few metal sounds for the design of regular machine movements. It’s kind of a self-imposed limitation, due to the funny fact that I can’t listen to metal impacts or scratches for too long. Doing so causes very physical and uncomfortable effects for me: it makes me taste metal and feel textures in my mouth. I’m not sure if this quirk aligns with some sort of sound-touch/taste synesthetic experience, but it definitely makes it hard for me to work on metal sounds for long.
Luckily, I had an in-universe excuse: the machines are made of high-tech alloys that differ quite a bit from the metals we know today. I still recorded a lot of metal impacts and scratches, but I tried to avoid them where possible. Creatively speaking it made for an interesting challenge, communicating high-tech metal substances without using too much real metal.
Environment, Movements and More – Lucas van Tol, Senior Sound Designer and Music Supervisor
What were your first steps when you started working on environment audio?
Lucas: When we moved over to the Horizon Zero Dawn project, there was a lot of information available on paper, but not a lot that you could see and walk through in-game. This was the perfect phase to do some really in-depth research into things like wildlife. Wildlife was never something we had to particularly worry about in the Killzone games, but we knew we wanted this game to be full of life.
For weeks and weeks I scavenged every resource I could find for information on North American birds relevant to the areas in our game. I ended up with detailed information on, no joke, 750 birds, including links to sound files of their call-outs. Once I handpicked the birds for every habitat in our game, we had to make sure they would sound natural when the player walked around the environment. That meant they had to respond in a natural way to changing circumstances like environment, time of day and weather.
How did you achieve that?
Lucas: We achieved this by turning each ‘virtual bird’ into a little ‘sound robot’ by itself. Each bird sound you hear in Horizon Zero Dawn is actually an interactive sound patch that constantly keeps its eye out for changing circumstances. For instance, when you are in a pine forest, the set of birds available will be different than when you’re in the desert.
The system constantly monitors the environment around you and ‘spawns’ these virtual ‘birds’ (and other fauna) based on what kind of environment it detects around you. So although the animals are virtual, they do have a static location in the world. This means that when you’re turning around, or walking through the environments, they will remain locked to the same location (both horizontally and vertically) in the world. This method works very well within the Platinum Wireless headsets 3D Audio mode, because we don’t fake anything here.
You mentioned fauna – did you do this for flora as well?
Lucas: Absolutely. Take the sound of winds and rains through the trees for example: obviously, rain falling through coniferous trees sounds different from rain falling through pine trees or palm trees. Rain on the leaves will also sound different, depending on whether it’s a few drops of rain or an enormous rain storm. All of those things will respond real time to changing conditions in-game.
How did you prevent the environment audio from clashing with the music?
Lucas: One thing you have to always be aware of when you work with sounds, is that you have a limited amount of frequencies at your disposal. You can’t just throw anything in there and expect everything to be audible. Since I was both responsible for a large part of the environments and for overseeing the music process, it was in my own interest to make sure both would be audible.
Early on, we came up with a concept where music and environmental sounds would give each other their own moments to shine. Sometimes exploration music is full and lush; we use those moment to subtly communicate to the player what time of day it is, what region he or she is in, and just put them in an ‘exploration mood’. Other times the music is very minimal and in the background; at those times you can really hear the details in the environments.
I feel that this concept is responsible for the natural feel you get while walking around in the world – the subtleness of all parts and the full result of the crazy amount of sound voices that are playing at the same time creates an ever changing audio experience.
What about the sounds of Aloy’s movements? How did you go about recording those?
Lucas: We started out with her most neutral Nora costume, and we must have gone through three or four full iterations where we tried to pinpoint the balance between making her sounding unique, strong but also efficient and quiet – because after all, she’s an experienced hunter. Her base costume eventually involved a lot of different materials, like a suede coat, sheets of leather, and wooden beads. Getting the sound of Aloy’s movements right was actually quite labor intensive.
What made it so labour intensive to record Aloy’s movements?
Lucas: Well, every footstep you hear is a combination of a costume sound and a surface material sound, like metal, sand, water, et cetera. We had all those materials available from our Killzone games, but unfortunately the shoes you wear when you record a surface has a big influence on the color of the sound – and the difference between a militaristic boot and a soft-fabric sole shoe is tremendous, so we had to start from scratch. And then we had to do it again when we found out that young Aloy would be walking bare feet.
What about non-walking sounds for Aloy, like swimming?
Lucas: Aloy’s swimming sounds were largely recorded in a swimming pool in Andalusia (Spain), in March, before the tourist season started. A very minimal setup was used: two mics above the water, two mics under water and a mobile recording rig. This all took place during a holiday break. Sound designers frequently take small recording rigs with them when travelling, because those are the times you’re likely to find cool source material for your personal library.
What is your favorite sound in Horizon Zero Dawn?
Lucas: People often ask me that! For me personally, my favorite is not a ‘designed sound’, although it is something that I recorded. When my daughter Laura was only 6 months old, I recorded her vocalisations at home, and they ended up being used for the intro cutscene for Baby Aloy.
Another thing I love is the indistinguishable ‘walla’ voices in the background of the Proving festival – all the people partying, eating, drinking, and sitting around campfires. They were all recorded from developers that actually worked on Horizon Zero Dawn. We got them in one room and turned those recordings into surround tracks, so you can actually walk amongst our colleagues if you use a surround system or the Platinum Wireless headset.
To find out more about the Platinum Wireless headset and its pioneering 3D Audio mode, visit the PlayStation website. To stay up to date on Horizon Zero Dawn and its upcoming DLC, The Frozen Wilds, follow Guerrilla on Twitter and Facebook.
Hi y’all! For the last several years, I’ve been working with Tamas Kemenczy & Ben Babbitt on Kentucky Route Zero, a magical realist adventure game about a secret highway in the caves beneath Kentucky. We’re happy to tell you that, as part of a collaboration with Annapurna Interactive, Kentucky Route Zero will also be available on PlayStation 4.
Our release date philosophy has always been “when it’s done,” but we’re looking at early 2018.
We started working on Kentucky Route Zero almost seven years ago, thinking it was going to be a relatively short sort of exploratory, non-violent game set in Mammoth Cave, in Kentucky. The project grew into something a lot larger in scope: a story that links together dozens of fully-realized characters and the places (some mundane and some surreal) where they live and work — a contemporary tragedy about debt, family, capitalism, and the electronic ghosts of abandoned futures.
As it grew in scope, we decided to release Kentucky Route Zero episodically, which gave us some space to really develop each of the game’s five acts and let them grow into their own through the creative process. The episodic format also gave us a way to keep our heads above water while keeping a manageable pace of work for such a small studio (only three of us!) developing a game full of detailed stories and hidden rabbit holes.
In between episodes, we released standalone “interludes,” short games that offered different mechanics and perspectives, and some more background on the world of Kentucky Route Zero.
For “Kentucky Route Zero: TV Edition,” we’re collecting all five acts and all of the interludes together, so the game on PlayStation will be complete from the day it’s released. We’re adding localization in French, Italian, German, Spanish, Japanese, and Korean for the first time.
Finally, we’re doing some tuning and accessibility work to help the game look and play its best on TVs — adjustable font sizes, brightness options, stuff like that. The game already plays great with a DualShock 4 controller.
Releasing a version of the game tuned for TVs is especially meaningful for us — we love TVs. I won’t spoil anything now, but television plays an important role in the story and world of Kentucky Route Zero. It has also played an important role in our lives — the early video artists we studied in school (and still study!) who were entranced by broadcasts and live video feedback — and even earlier late night sessions flipping channels and fiddling with antennas, ears pressed against static, listening for ghosts.
Whether you can relate to these particular memories or not, we’re sure you have some vital connection to your TV, and we hope you’ll explore it with us when Kentucky Route Zero comes to PlayStation 4 next year. Maybe, like music critic Ian Penman wrote, TV “has made us all ghosts.”
Well, that’s August in the bag. On the horizon, the big guns of Destiny, FIFA, Star Wars and Call of Duty begin to ready their cannons for the run up to Christmas (don’t panic, there are still 117 days to go) and it promises to be an epic end to 2017.
Before we wade in the chaos of another explosive winter though, let us pause for a moment and unveil our own arsenal of explosives primed and ready for PS Plus in September – prepare yourself: it’s a heck of a payload!
inFAMOUS: Second Son
If superheroes are you’re thing then this one’s for you. He might not be a comic book icon with a box-office tie-in and a branded lunchbox, nor does he look terribly fetching in lyrca, but Delsin Rowe does have the super powers – lots of them.
The third instalment in the hugely successful inFAMOUS franchise, inFAMOUS: Second Son transports the action to an alternate reality Seattle where super human ‘conduits’ are being hunted by the state. Awakened to his remarkable powers by a chance encounter with another conduit, Delsin travels from his homely rural reservation into the heart of the besieged city with a score to settle.
Fireball comet drops, neon-light wall-running, concrete fisty-cuffs – use your powers for good or evil as you traverse a huge open-world recreation of the American North-west’s Emerald City.
Child of Light
Leaving behind the tattooed tearaways of Seattle, next up we have the beautiful and dreamlike fairy-tail RPG Child of Light. An impressive combination of painterly, hand-drawn visuals and song-like rhyming narrative, it was an early gem for the PlayStation 4.
You take on the role of Aurora, the ill-fated daughter of an Austrian Duke, who finds herself mysteriously transported to a magical kingdom blighted by the grip of eternal night. As the fated Child of Light, you must venture across the imperilled land in search of a means to restore light and happiness to the world and oust its evil overseer.
A clever combination of turn-based combat, role-playing character development and puzzle/platforming, this charming 2D adventure combines the best of traditional and modern game design.
Bonus game: RIGS Mechanised Combat League
Two down and more to go! As a special bonus this month, PS Plus subscribers will also be able to download PlayStation VR launch title RIGS.
Designed and built exclusively for PS VR, RIGS places you into the cockpit of a mechanical sporting titan known as a ‘RIG’ and launches you into a competitive sports league that combines first person shooter combat with team-based tactics and… erm slam-dunking yourself through a giant gold hoop.
It’s as chaotic and exhilarating as it sounds. Moreover, as you move through the league you’ll unlock new RIGs and upgrades, each tuned towards a specific role or playstyle that will broaden your options inside the arena.
It’s exactly the sort of gaming experience virtual reality was conceived to realise, where complete immersion and tactical awareness of your surrounding shapes how you play and your chance at winning.
Bonus game: That’s You
Last, but definitely not least, we have one further bonus for PS4 users. PlayLink title That’s You, available throughout July and August, will be also be available for those who missed it all throughout September as well.
In this irreverent party quiz you and up to five of your friends and family get to find out what you really think about each other. With your TV, PS4 and a tablet or smartphone in hand, answer over 1,000 funny questions, take part in daring doodle challenges, snap selfies for photo challenges and more.
Anything else?
As always, the PS4 line-up is joined by four additional titles – two apiece for both PS3 and PS Vita – which leaves the final line-up looking like this:
All the above will be available on PlayStation Store from 6th September, meaning you’ve still got a few days left to grab any of the August titles you might have missed. A quick reminder, in case you missed them:
Hey there! This is Judith from NIS America, and I’m here to bring you some exciting news about the most epic action RPG of 2017… Ys VIII: Lacrimosa of Dana! Those of you who have been anticipating the demo can finally dive into the Isle of Seiren today on PS4.
While I’m sure there are many Ys fans (like myself) who are super excited about this news, there must also be some newcomers to this 30-year running franchise.
In a nutshell, the series revolves around the adventures of Adol Christin, a brave, red-headed adventurer who has some pretty awful luck with ships. In Ys VIII: Lacrimosa of Dana, Adol awakens on a cursed island known as the Isle of Seiren after surviving a disaster at sea. Here, he works to find his fellow shipwrecked passengers in order to escape the accursed isle.
In the midst of this, he begins to dream of a mysterious blue-haired maiden named Dana. What secrets does this cursed isle hold? Who is Dana? Well, you gotta play the game to find out!
One of the most notable qualities of the entire Ys franchise is the blazing fast action! Ys VIII: Lacrimosa of Dana refines the series tradition with some new features and can be enjoyed by Ys veterans and novices alike.
Battles are intense, and players must keep on their toes by constantly switching between characters in the moment in order to defeat monsters with corresponding weaknesses. Strategy meets action and speed in this game, so if anyone thought you could button-mash your way through, I’ve got news for you…
And what better way to celebrate the arrival of Ys VIII than with a playable demo? Players can get a taste of the action-packed gameplay and see the lush graphics of the PS4 version.
In this demo, Adol and two fellow castaways named Laxia and Sahad find themselves on a beautiful yet secluded part of the isle and must search for other survivors of the shipwreck. Along the way, they’ll meet some characters (Anyone remember the man who breaks walls?) that appear in the main game, but have no fear, there are no spoilers!
Veteran Ys fans and newcomers alike will appreciate the expansiveness of Ys VIII. With more than 60 hours of gameplay, this is the biggest Ys adventure yet. There’s also cool, free DLC for the PS4 version of the game to aid Adol in his adventure. Those who pre-order the game digitally (available soon) will also receive a Theme, seven avatars, and a digital soundtrack. What’s more, there will be limited-time free DLC featuring some new threads for Adol, including one that screams nostalgia!
For more information about the game, be sure to check out the official website. Strap on your adventurer’s gear and get ready for the biggest action RPG adventure of 2017. Download the demo and play it today, and get ready for the full game which launches 15th September on PS4 and PS Vita!
Hot on the heels of season 3 of the Netflix original series DreamWorks Voltron: Legendary Defender, we’re proud to present a new cinematic, episodic VR experience called Dreamworks Voltron VR Chronicles.
Developed by Digital Domain, in collaboration with Universal Brand Development, this unique adventure puts the user in the role of the Blue Paladin, Lance, as you’re placed at the center of a massive conflict between the Voltron force and the Galra Emperor, Zarkon.
Episode 1: Seeds of Corruption
When Lance discovers the remains of a lost alien race deep within enemy space, he releases an unstoppable force that threatens to corrupt the Paladins’ control over both their Lions and Voltron. Jumping into the heart of the adventure, you must overcome the corrupt force and relentless threat of Zarkon as you struggle to solve the ancient mystery and fight your way to victory.
Fans of the show will be thrilled to know that each of the TV show’s voice actors have lent their amazing voice talents to the experience. We were also excited to involve the showrunners who provided some of their writing expertise and thorough knowledge of the Voltron universe.
It’s been Digital Domain’s plan to ensure that DreamWorks Voltron VR Chronicles is as authentic as it gets. Once you get your hands on the experience, we hope you feel the love and the insane amount of hours we’ve put into creating this cinematic VR adventure!
The cinematics in this episode feature a visual style reminiscent of the animated TV series but presented for the first time in fully immersive 360° VR! The use of VR technology allows for more dynamic storytelling and incredible in-your-face action sequences.
The experience will also feature moments of interactivity where the user takes control of Lance’s actions. These interactive moments include several highly engaging puzzles as well as exciting missions where the user pilots the Blue Lion, battling Galra forces with an array of highly advanced weapon systems.
Developed by Digital Domain, a leading creator of in-house original content, visual effects and immersive experiences, DreamWorks Voltron VR Chronicles will be available to buy on PlayStation Store from 26th September.
All of us at Digital Domain look forward to you getting your hands on this VR experience! We absolutely, positively cannot wait to hear what you think.
Be it the golfing green, the streets of Japan or the gorgeous landscapes of Oregon, PlayStation Store’s new releases will take you on a tour of the world this week. Below are five of this week’s biggest releases, and as usual, the full release schedule follows thereafter.
1. Life is Strange: Before the Storm
Return to Arcadia Bay through the eyes of Chloe, a 16 year-old punk-rock rebel who forms an unlikely friendship with Rachel Amber, the most popular girl at Blackwell Academy. This prequel to Dontnod’s fan favourite adventure will take you back to the peculiar characters and gorgeous Oregon scenery of Life is Strange in a story set before the events of the first game. As with the original, Before the Storm releases episodically, with the first part, Awake, out this Thursday, 31st August.
Why you should play it: Your choices have consequences. But unlike the original, you don’t have time-rewinding powers to undo your mistakes, leading to a tenser trip to Oregon this time round.
More info: How the inability to reverse time impacts Life is Strange prequel Before the Storm
Available: 31st August
2. Everybody’s Golf
Celebrate the 20th anniversary of one of PlayStation’s best-loved sports franchises as Everybody’s Golf debuts on PS4. This new iteration of the famously fun and accessible golfing experience features the same three-click shot mechanic that fans have come to know and love. But alongside the realistic golf physics, online modes and character customisation is the option to go fishing, buggy racing or even treasure hunting! How you enjoy the green is up to you.
Why you should play it: Hardcore competitor or casual golfer, there’s fun to be had no matter what your style is!
Absolver is a stylish online combat game offering a wealth of tactical fighting styles to master. Pick your weapon, decide on your strategy, and plan your attacks thanks to the intricate Combat Deck. Design your own unique attack flow and spar with others to learn new combat skills, moves, and acquire weapons and armour. Will you be worthy of joining the elite corps of Absolvers?
Why you should play it: Create your own style and prove your worth in solo duels and intense three-on-three battles.
11 years after the release of the very first Yakuza on PlayStation 2, you can now experience the incomparable action and drama of the franchise’s debut with this PS4 remake that sees the game rebuilt from scratch. The remake is packed with new features and content with deeper stories, new side quests, updated combat, a re-recording of the original Japanese dialogue and much, much more.
Why you should play it: Discover (or re-discover) the origins of the famously unpredictable and over-the-top franchise.
Developed by CCP, the studio behind Eve Online and Eve: Valkyrie, Sparc is a very new kind of competitive game. In Sparc, players compete in fast-paced, full-body contact sport entirely in VR. Customise your avatar with a host of stylish options and you’re ready to hone your skills in single-player challenges and trials or compete online in one-on-one multiplayer matches against friends or via matchmaking.
Why you should play it: To turn your VR hardware into your sporting equipment!
Marvel Heroes Omega – Spider-Man Omega Prestige Pack
1st September
Pro Evolution Soccer 2018 DEMO
30th August
Licky The Lucky Lizard Lives Again (Not in Austria, Belgium, Denmark, Finland, France, Italy, Lux, Netherlands, Norway, Poland, Portugal, Spain, Sweden, Switzerland, Turkey)
1st September
New PS Vita Games
Still Time
29th August
Rabi-Ribi
1st September
PS4 DLC
PS4 DLC
29th August
GWENT — Starter Pack
Fishing Planet
LUCKY START PACK
BASS BOSS PACK
CATFISH COMBAT PACK
SALMON STAR PACK
TROUT TRIUMPH PACK
SALMON STAR PACK
Dead Alliance: Full Game Upgrade
30th August
Dragon Age
Inquisition DLC Bundle (Not in India, Saudi Arabia, Ukraine)
Warframe
Hydroid Prime Access Pack
Hydroid Prime Accessories Pack
31st August
Life is Strange
Before the Storm Deluxe Upgrade
Before the Storm Episodes 2 & 3 Bundle
FINAL FANTASY XV
ASSASSIN’S FESTIVAL (Not in Saudi Arabia)
Outfit: Noodle Helmet (Not in Saudi Arabia)
TEKKEN 7
DLC 1 Ultimate TEKKEN BOWL & Additional Costumes
1st September
Little Nightmares
Fox Mask
Tengu Mask
Enjoy!
Remember, if you’ve not got access to your PS4, PS3 or PS Vita then you can also buy through our online store on your mobile, tablet or computer.
Out this week
