The post The Lord of the Rings: Gollum uses ray-tracing and more new features on PS5 appeared first on Game News.
]]>In Official PlayStation Magazine 182 (opens in new tab) this past week, developer Jonas Husges offered some hints at how Gollum will work in tandem with the new tech on Sony’s next-gen console. “Gollum’s actions become more tangible and his physical struggle when he runs out of stamina translates directly to the way the game is played,” says Husges.
The comment from Husges points to the DualSense controller reacting in some way to Gollum’s depleted stamina. NBA 2K21 boasts this feature through the PS5 DualSense controller, with more resistance being applied to the triggers when a player is tired and fatigued.
Husges then praises the PS5’s SSD component, saying that it allows for vastly detailed, open areas to be fully explorable. The SSD also drastically decreases the loading times throughout The Lord of the Rings: Gollum, meaning it’s a quick trip back to the latest checkpoint whenever Gollum meets an untimely end.
“Clean, ray-traced shadows allow for maximum effect in player guidance in building stealth passages while dynamic and moving light sources bring in the extra challenge when Gollum is roaming through the darkness,” says Daedalic art director Mathias Fischer of the PS5’s ray-tracing capabilities. “All these things, of course, have the nice side-effect of making the game feel vast, and such free roaming environments we are creating look as spectacular as Middle-earth deserves.”
For some added information from Daedalic themselves on why they decided to go with Gollum as the protagonist for their new game, check out our Lord of the Rings: Gollum interview with Daedalic for more.
If you’re still trying to reserve Sony’s next-gen console after a hectic launch period, check out our PS5 deals guide for detailed information on predicted stock from various retailers.
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]]>The post Telling Lies coming to consoles this April appeared first on Game News.
]]>The award winning narrative game, which first released on PC and mobile devices last August, is now going to be available on Nintendo Switch, PS4, and Xbox One in a week’s time.
The unique thriller, which won a Golden Joystick Award last year for Logan Marshall-Green’s performance, sees you searching through video clips on a desktop computer, trying to piece together the story that connects the four people featured prominently in said videos.
You can watch the launch trailer for the console ports here (opens in new tab).
In the latest issue of Official PlayStation Magazine (opens in new tab), which you can buy here (opens in new tab), creative director Sam Barlow spoke to the magazine about how replaying on controllers helped the game feel fresh for him.
Speaking to OPM’s Oscar Taylor-Kent, Barlow said: “The first time I played it on console, and this was like after I’d played the game for four hundred [hours]… I was done with the game. But I sat down in my living room and for three hours played the game just because it was fun to discover it again.
When I played it in my living room, and obviously this depends on the size of your telly, but it pretty much worked out that like, the characters were real scale essentially. And with the pacing of it being more realistic and not compressed, it became interestingly more intimate to be in my living room, having these characters just talk to me through the screen.”
Barlow also spoke about how he was aware of people trying to play the game in a more communal setting already. He continued: “I know like a bunch of people who go to lengths to get the iPhone version to play on their TV or use their Steam Machine or whatever, so they can play it with friends and family and stuff. So it’s really neat that it will be on a screen without people having to actually do any of the clever stuff.”
If you haven’t got around to Telling Lies, it’s one of our favourite games from last year, with Sam Loveridge describing it in her review as: “a game that stays with you, and through the medium of its storytelling manages to make you as much a part of the voyeuristic, privacy-invading problem as the entire game tries to take apart.”
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