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Marvel’s Spider-Man for PS4 DLC Details Revealed

Marvel’s Spider-Man for PS4 DLC Details Revealed

Insomniac Games Community Director, James Stevenson revealed Tuesday on the PlayStation blog the schedule and details for the first DLC from Marvel’s Spider-Man: The City That Never Sleeps.

The DLC will consist of three installments, with the first chapter being Marvel’s Spider-Man: The Heist and will release on Oct. 23. The Heist focuses on Felicia Hardy, also known as Black Cat and features new missions and challenges for players, along with a new faction of enemies and three additional Spider-Man suits.




The second and third installments include Marvel’s Spider-Man: Turf Wars which releases in November 2018 and Marvel’s Spider-Man: Silver Lining that comes out the following month in December 2018.

Further details on the last two chapters have not been revealed, but Stevenson said each release will feature new story missions, challenges and suits to unlock.

Marvel’s Spider-Man: The City That Never Sleeps bundle DLC will be available for $24.99 USD or individual installments will be priced at $9.99 USD each. The Digital Deluxe Edition of the game is available for preorder for $79.99 and includes all DLC content for Marvel’s Spider-Man: The City That Never Sleeps.




As we wait for the launch of Marvel’s Spider-Man, read up on everything you need to play the PS4 game, including the different editions available to purchase. Make sure to also check out the Spider-Man PS4 train that took over the Times Square Shuttle in NYC earlier this month.

Jessie Wade is a news writer at IGN. She can’t decide who played Spider-Man best in the film franchises, but is ridiculously excited for the game to come out next week. Connect with her on Twitter @jessieannwade.


Far Cry 5’s Zombies DLC Gets New Trailer And Release Date

Far Cry 5’s Zombies DLC Gets New Trailer And Release Date

Far Cry 5’s Zombies DLC Gets New Trailer And Release Date

Dead Living Zombies arrives very soon.

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Far Cry 5‘s next expansion, Dead Living Zombies, will launch on August 28, Ubisoft has announced. The expansion sees players meet up with “D-tier” film director Guy Marvel who has a number of ideas for an “epic zombie saga.” You will play seven different “film scenarios,” which are maps made using Far Cry 5’s Arcade Editor tools.

As you’d imagine, you will be fighting against “hordes of undead” in all manner of different environments. Once you beat each map, you’ll unlock a Score Attack mode. If you get a 3-star rating you’ll get weapons and gear that you can use in the story mode.

The Dead Living Zombies expansion costs $7 on its own, while it’s also included with Far Cry 5’s $30 DLC Pass. You don’t have to pay to get new stuff, however, as Ubisoft is adding more scripting tools and destructible objects, as well as “more new assets,” to the free Far Cry 5 map-editor in the next title update.

Dead Living Zombies is the third and final Far Cry 5 expansion, following the previously released Hours of Darkness and Lost on Mars. You can watch a trailer for Dead Living Zombies in the embed above; there is only a very brief gameplay segment, right at the end.

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Far Cry 5
Xbox One
PlayStation 4


WE HAPPY FEW Game Review: Breaking Sad

WE HAPPY FEW Game Review: Breaking Sad

We Happy Few has come a long way from its early-access days. Developed by Montréal-based indie studio (now Montréal-based Microsoft subsidiary) Compulsion Games, an alpha version launched literally years ago, a procedurally-generated survival sim that never really lived up to its unique art style. Several money injections later, We Happy Few is now a narrative-heavy game with style to spare. But its many triumphs are nearly equalled by its many irritating quirks – thanks, in all likelihood, to its two-pronged development process.

Set in England, We Happy Few takes place in an alternate 1960s in which the United States and Russia never allied with Britain, and Germany quickly ran rough-shod over poor Blighty – only leaving when Britain handed over all its under-13 children. Now, England is a dystopia based around a compulsory drug called “Joy” that suppresses and erases memories of that great national shame. This isn’t the boisterous alternate history of Wolfenstein, but something more sad and maudlin – a world in which everyone simply chose to forget their complicity in the Reich’s victory. Ignorance is bliss, and Joy is ignorance. As a post-WWII story, the notion of a country trying to deny its shameful past is a pretty weighty one.

The visual design of We Happy Few is so strong, it’s likely sold a number of copies all by itself. Hints of BioShock’s twisted opulence abound, but filtered through the groovy, psychedelic ‘60s rather than the Art Deco ‘20s. Vibrant colours and mod clothing dominate the bourgeois, Joy-infused cities, while the ruined “Downer” settlements project a bombed-out, plague-ridden vision of bucolic English countryside towns. Towering, masked police bobbies; creepy, trenchcoated doctors; and prowling, hovering sentry balloons stalk the streets. The combination of sinister and happy-go-lucky evokes Orwell, The Prisoner, Monty Python, and A Clockwork Orange all at once, while uniformly excellent voice acting brings terrific dialogue to life with a frighteningly cheerful rainbow of regional British accents. It’s a breathtakingly complete vision, from characters and environments right down to the smallest props.

All that backstory and more is parceled out, with varying degrees of elegance, by a surprisingly lengthy story campaign broken into three distinct acts. In the first act, you play as Arthur, a government redacter; in the second, basement pharmacologist Sally; in the third, Scottish survivalist Ollie – three stories that smartly intertwine. Each heartbreakingly flawed character has an intriguing story to tell, and more tales to uncover via sidequests: it’s actually overwhelming. Each act takes hours and hours to complete, and despite many delightful missions – infiltrating a leather-and-electrocution fetish nightclub, as an early example – much of the game involves tedious item-fetching and long-distance backtracking. These are good stories – they’re just told with wildly uneven pacing.

Where We Happy Few really falls apart is in its moment-to-moment mechanics. None are inherently bad – there’s some genuine innovation on display – but you can feel the game creaking under a multitude of conflicting systems, ambitions, and design principles. We Happy Few wants to be an open-world RPG, a scripted single-player narrative experience, and a systems-driven stealth/survival game all at once, and accordingly, never achieves its potential as any of the three.

Gameplay-wise, the biggest emphasis is on stealth: in this fascist world, you’ll have to either evade the authorities, or blend in as a model citizen. Nonconformity is punished severely, which is thematically on-point, but the game could stand to gain a little wiggle room. There are simply so many reasons why enemies might become hostile – taking out a weapon, trespassing, not saying “hello” often enough, acting strangely, and more – that you’ll often get into situations where everyone in sight suddenly aggros, and you’re left sprinting around for a hiding spot to wait out their cooldown timers. Should you stand your ground, you’ll contend with a clunky first-person melee system, and an even clunkier item-selection system, that’ll make you madder than your enemies.

But We Happy Few‘s tangled mess of systems goes even deeper. A raft of open-world survival systems mostly serve to irritate, ranging from crafting and inventory management to hunger, thirst, sleep, disease, and other status effects. Each playable character has different stats and unlockable perks, though none of them ever really feel important, while Sally’s “motherhood” meter is a cringeworthily simplistic addition to the game’s sole playable female character. The one truly relevant peripheral mechanic is the use of Joy, which alters graphics, sound, animation, and gameplay, and actually factors into the game’s themes. But even that becomes mechanical and rote eventually.

Added to that is a vast array of weird, annoying behaviours and glitches. Each new act (and new character) resets all your progress – perks, map fog, fast-travel points, recipes, inventory, everything. Upon death or reload, the game spawns you in seemingly arbitrary locations far from where you died. Betraying the game’s procedurally-generated origins, city layouts feature weird empty corners; venture outside them, and you’ll find nothing but ugly rear-ends of buildings, with signs facing roads that aren’t there. Character movement often gets caught on random objects, or you’ll do a climbing animation to mount a ledge no higher than a street kerb. And most hilariously, AI characters frequently warp across the map to reach their mark for a scripted sequence.

It truly pains me to write such damning things about We Happy Few. The world-building, visual presentation, and story are genuinely engaging, building on beloved alt-history games while staking out oddball thematic turf far more consistent than, say, BioShock Infinite. We Happy Few is full of wonderful details that make you laugh, shudder, or spin off into imagination. But that content is buried under a classic case of feature creep and poor quality control, borne of too many ideas and not enough development focus.

I’m willing to bet that were Compulsion to start again from scratch, this would be a legitimately great game. But they didn’t, and can’t; all we have is the heavily-flawed gem that is We Happy Few.


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