Category Archives: PlayStation 4


It’s been a rocky few years for multiplayer Star Wars games. In 2015, EA revived the Battlefront franchise only to deliver a beautiful but shallow arcade experience that didn’t require much skill. This was then followed up by an improved and expanded sequel, which only reached its full potential years after it was nearly immobilized by an industry-shaking microtransaction controversy.

Despite this, Battlefront II turned out to be one of my favorite Star Wars games. It received a batch of updates that I believe made up for its rocky start and kept me coming back. These updates were mainly focused on ground combat modes, leaving Starfighter Assault, its space battle mode, to go without an update since launch. While it was a fun mode, it largely relied on its spectacle and speed over engaging gameplay. It was fast, fun, and dumb.

Star Wars: Squadrons, EA’s new combat flight sim, slows down the pace and replaces the mindless one-button abilities with intricate systems that require moment-to-moment decisions and long-term planning. The ability to manipulate these systems, like power distribution and shield allocation, can separate the good pilots from the great.

Squadrons lowers the player count to 10, split between the New Republic and the Galactic Empire. Both sides allow players to select from four classes: the all-around fighter, the dedicated bomber, a speedy interceptor, or a team-focused support ship. Rebel ships come equipped with shields and generally have great visibility, which comes in handy in VR. Imperial ships, with the exception of the TIE Reaper, trade shields for the ability to immediately transfer power from one system to another, providing a complete laser recharge or full boost refill. They also have worse visibility, due to the classic TIE fighter cockpit design.

Within each faction, the classes all have a distinct feel. Some are more maneuverable, while others give and take more damage. Modifications to your ship’s components can bend one class to mimic the role of another. You could outfit your fighter to be more effective against capital ships, or you could tweak your bomber to be more effective against other starfighters.

These modifications always come with a trade-off, a theme that permeates throughout the rest of Squadrons. Every benefit has a drawback. In order to raise your top speed, you may need to sacrifice your overall health pool. This allows for a lot of personalization in your starfighters and really changes the way you play. Some loadouts may benefit from an aggressive mentality, requiring you to get in close and get out, while other kits allow you to move a bit slower and deal as much damage as you take. The variety of possibilities ensures that no two matches of Squadrons are exactly the same, and you have to be ready to adapt to any given situation. The starfighter with the steepest learning curve seems to be the support ships, which handle like big space boats and are a bit slower.

The two main multiplayer modes in Squadrons are dogfights, a short team deathmatch-type game mode, and fleet battles, a multistage objective-based mode focused on taking down the enemy’s flagship.

Fleet battles is the premier mode of Squadrons. Two teams go head to head with the ultimate goal of taking down the other’s capital ship. However, both teams must go through the other defensive line of fighters, corvettes, and frigates in order to make the final approach. Each side must work to boost their morale in order to push the frontline forward; each kill gives a morale boost, while each death takes some away.

A fleet battle begins with an initial dogfight. This is where interceptors and fighters are handy. The winner gets a morale boost that propels them into the next phase, while the opposing team has to pull back and defend their frigates. These serve as defense structures and are extremely valuable. They keep the frontline away from your capital ship while also providing a resupply point during the attack phases. Losing one has real cost and can make attacking the enemy’s flagship much more challenging.

The constant push-and-pull nature of this mode makes it much more engaging than the linear hand-holding of Starfighter Assault in Battlefront II. I found myself clenching my controller as our Nebulon-Bs were on their last legs, swerving my bomber around, setting full power to my lasers to take down the incoming corvette. I feel like I have agency over a battle and can turn the tide of the battle based on how well I play my role.

Both modes are played on the same six maps, with size variations for the two modes. They offer great variety, and most of them provide excellent cover. In one round as a U-Wing, I led my team around an asteroid just above a Star Destroyer, using the squadron mask ability to hide our bombers from their scanners, setting us up for a perfect bombing run on their shield generators. In another round, I placed a turret mine around the corner of a debris field, just in front of our frigate, providing covering fire that would hit enemy bombers in their blind spot. There’s nothing quite like weaving through asteroids, dodging missiles, and laying mines around the bend for your pursuer to encounter.

That’s at the heart of what could make this an exciting esport: the potential for clever plays and team tactics. But whether this game has the steam to stick around is yet to be seen. After nearly 60 hours, I can feel the charm of the maps wearing off. With no upcoming content announced, I’m not sure moving up the competitive ranks would be worth grinding on the same maps over and over.

Ranking has also been a bit of a hassle at launch. For one, if any player drops out of a game, your whole game immediately becomes invalid for ranking. You could leave the unranked match without impacting your competitive rank, but it would count as a loss on your pilot record. So you’re forced to play a whole match down one or more players or sacrifice your ratio hoping the next round is better. At this point, my ranking is completely bugged. As soon as I finished my qualifying rounds, my rank reset to zero and my end-of-round rank screen glitched, with XP counting up to infinity. These are understandable issues to have at launch, but it’s been a bit discouraging as someone eager to climb the ranks.

Squadrons is the Star Wars game I’ve been waiting for. It challenges players and makes them sink deeper into its mechanics to improve. It maintains the spectacle of the Battlefront games while relinquishing control over the action to the player, raising the stakes for each strategy and decision. The big question is whether this game will have a prolonged life, especially in esports. EA continues to say that it has no plans for future content, so the future of Squadrons may be in the hands of the fans. Some are already forming their own tournaments, like the Calrissian Cup and Operation Ace. They may be Squadrons’ only hope.

Via The Verge and US Gamer

Monster Hunter World’s first ten hours are a brilliant, faithful entry point to the series

After a very lengthy hands-on session, it seems clear Capcom is on the right track with their monster-slaying action RPG series.

Capcom’s big aim with Monster Hunter World is obvious – to capture a new, broader audience for this open-ended, unique series. That makes the opening of the game important, as it’ll be a vital moment for the franchise with a great many new players.

After spending two full days and well over ten hours running through World’s opening hours, it’s fair to say Capcom has the right idea. It’s shaping up to be something really special.

“The core loop of preparation, combat, looting and upgrading is a blast, and it’s why Monster Hunter has had such success in Japan in the past. World replicates this flow perfectly on a big-budget console level.”

The thing that surprised me most about Monster Hunter World is just how much like classic Monster Hunter it is. Back at E3 there were concerns about its streamlining of major mechanics and systems, something the game’s Producer and Director pushed back on in our interview at the time. This proper, lenghty hands-on with a fairly complete build of the game underlines that they were correct: this is absolutely Monster Hunter at heart.

What this means is that the game doesn’t worry too much about holding your hand or funnelling you into main quests. It doesn’t desperately fret that you’re going to get lost or sidetracked – in fact, it wants you to, for the sake of exploration. Broadly speaking the next path you’re to take is always clear, but there’s never too much pressure, narrative or otherwise, to crack on with the main quest. Monster Hunter World wants you to stop and smell the roses and touch the monster mucus – all that stuff.

It also means that the game is still stylistically unabashedly Japanese in a way some other big-budget Japanese RPGs like Final Fantasy 15 have tried to water down. That sort of energy and sense of style around the world and its characters, from your over-exuberant, hand-flapping assistant to the brilliant anthropomorphic cats who cook and assist you, is a welcome thing.

The general flow of the game is pretty simple, with you starting out any mission in a hub area filled with friendly characters and useful service-providing NPCs. You’ll pick up a quest from the bulletin board and then head out on that quest, either with other players or alone. The difficulty of the quest will dynamically alter based on if you travel with others or not, meaning the game can be soloed if you want – but really, World is designed to be experienced with others, with players mixing and matching the wide range of weapons and abilities to take on monsters in a coordinated way that resembles the best MMO raids.

Monster Hunter World is less ‘open world’ and more ‘open stage’ in that you’ll travel to different zones that are discrete and unique from each other, but each zone is also a wide open-ended area. You can travel for one mission but explore, gather materials or hunt down a different monster instead, or you can even travel to the zones outside missions to explore objective-free. Material gathered in the wild or looted from the corpses of defeated monsters is everything in World, with your main means of progression a combination of improved skills on the player’s part and upgrades to armor, weapons and other gear.

The core loop of preparation, combat, looting and upgrading is a blast, and it’s why Monster Hunter has had such success in Japan in the past. World replicates this flow perfectly on a big-budget console level. Even this early on I found myself diverting away from the story missions to hunt for specific pieces of loot I needed in order to complete an armor set. On those armor sets, by the way – some of them are ridiculously bad-ass, and the boost in visual fidelity on the current consoles finally allows me to understand what the ‘glamour hunter’ dress-up aspect of Monster Hunter fandom is all about.

“This game is about its world, and that world is filled to the brim with stuff that interacts and does cool stuff.”

Anyway, the other big wrinkle in that loop comes in the combat phase. There’s a sort of living ecosystem behind-the-scenes in Monster Hunter World, and the creatures on the map aren’t limited based on your mission. While hunting the electric, lizard-like Tobi-Kadachi the more powerful dinosaur-like Anjanath is also out there, for instance, and if you’re lucky you’ll see some spectacular monster-on-monster encounters that might help you towards your objective.

Case in point: I was really struggling to do the Tobi-Kadachi solo, and I’m stubborn and wanted to do it alone. In the end I found the best way to defeat it was to recruit the Anjanath as an ally. To do this I had to carefully lure the Anjanath to my target. This wasn’t easy – it’s a powerful monster that at the time could down me in a couple of hits. Cue me running like a mad man, occasionally turning around to check I still have aggro. If the Anjanath turns away, I whip out my slingshot weapon and give it a double blast in the behind with rocks to draw its attention again. I’ve done this sort of aggro-drawing thing in games before, but it isn’t tedious here.

That’s mainly because there are creatures bloody everywhere, big and small. I’m dodging stuff, triggering traps to slow the Anjanath, and generally things are tense and exciting. Eventually I do succeed in leading it over and once I manage to trick them into engaging each other the result is a pretty amazing clash. It’s also a worthwhile endeavor: the Anjanath deals something like 400 damage in one massive neck-biting body slam, whereas each hit of my weapons was dealing 10 to 15 at most. It was a risky shortcut, but it paid off – I was able to trace the limping, wounded creature back to its lair to finish it off. With other monsters I was less cheap, instead making use of things like traps and learning their weak points to take them down efficiently or to break off things like horns or chest plates to take home as valuable armor-upgrading loot.

This is where the World subtitle makes the most sense. While it’s also named, I think, for the worldwide launch and the focus on a worldwide audience, this game is about its world, and that world is filled to the brim with stuff that interacts and does cool stuff. It’s also gorgeous (at least in this build, played on a PS4 Pro) with a decent variety of areas. We only got to play what was essentially two large maps, but plenty more have been glimpsed in trailers. It also has one of the most lovely, welcoming hub areas I’ve enjoyed in a game since Mass Effect’s Normandy.

There just seems to be so much to do, too. There’s research to complete, both story and side missions, loads of lovely RPG gear (which the team is serious enough about that we’re not allowed to talk about the stats of) and a range of weapons to master, each with unique abilities. There’s 11 melee weapons (Great Sword, Long Sword, Dual Swords, Sword and Shield, Hunting Horn, Hammer, Switch Axe, Charge Blade, Insect Glaive, Lance, and Gunlance) and three ranged weapons (Light Bowgun, Heavy Bowgun, and Bow) on offer, and they’re all really very different. I fell in love with the Dual Swords pretty quickly, but I saw some astonishingly high level stuff with the Sword and Shield from friend of the site Arekkz at the event. Anyway, the point is this – all the depth hardcore Monster Hunter fans would want is intact here.

All of this is paired up with a more in-depth story, too. We’re not really allowed to talk about this in detail, but the game begins with a big old action set-piece and there’s a good amount of both voiced and unvoiced story work throughout. Your chipper partner-in-crime seems to be a fun character (though no doubt she’ll grate on some), but more importantly the general sense of character around the monsters and world spreads also to many of the NPCs that appear to be major story players.

The narrative seems perfectly serviceable albeit unremarkable so far, and really it’s only there to serve as justification for the game opening up new areas. It gives you a decent prod along its critical path for those who need it, but as mentioned earlier this game appears to be at its best when you take your time and meander, which is incredibly easy to do. There’s still potential for an expansion of narrative scope as the game progresses, however, so I’m keen to see where exactly that goes. One minor story annoyance, incidentally: some missions have mid-mission cutscenes, and other players won’t be able to join you until you’ve seen those scenes for the first time.

I’ve got a lot more to say about Monster Hunter World, and you’ll see more from our extensive hands-on visit to Capcom over the coming weeks including video footage, interviews and more. For now, though, here’s the headline you really need to know: Monster Hunter World looks and feels damn good. It at last feels like the Monster Hunter that could crack the Western mainstream without compromising what made the series great. I’m super excited to play more, and January can’t come soon enough.



Why retail console games have never been cheaper, historically

Or: Why the 16-bit era was the most expensive time to be a console gamer.

Recently, we took a look at the history of how much various video game consoles have cost at launch. Research shows that the upcoming consoles from Sony and Microsoft look much more historically competitive once inflation is taken into account (and once expected price drops are extrapolated). But the cost of the hardware is actually not the most significant portion of what you’ll spend on a console over its lifetime; the price of software matters just as much if not more (and these days there are factors like online service and accessory costs). In light of this, a few readers have asked us to examine just how the prices for games have changed over the years.

This is trickier than it first seems. Console makers don’t set uniform suggested retail prices for every video game released in a given year. Software prices can vary based on publisher, genre, system, format, and more. Game prices are also often reduced quite quickly as a game gets older, so bargain-basement clearance titles can complicate things.

To try to account for these issues, we decided to look at a representative “basket” of games in a variety of genres for each year for which we had reliable data (loosely defined genre list: Action, adventure, fighting/brawler, racing, RPG, shooter, sports, and other). For each genre, we determined a general range of prices by looking for the most expensive and least expensive games we could find with documentary evidence of a contemporaneous advertised price. We then took the average of the high price and the low price for each “basket” to come up with a general range of game prices for each year. To limit the effects of clearance items, we limited our data to games that were being advertised within a year of their original release date (to see the raw data behind our analysis, as well as sources for prices, check out this Google spreadsheet).

Even with all of this, the data isn’t perfect. We were limited by the number of advertisements featuring game prices we could easily find for most years. Dedicated shoppers could probably find prices slightly lower than our lows for each year available, and there may be games that were selling above our high prices as well. Also, this list only looks at retail games, so it fails to show the impact of low-priced downloadable games on services like Xbox Live Arcade, PlayStation Network, and WiiWare in recent years.

Those caveats aside, the data show that retail games released today are actually much cheaper than they used to be on a dollar-for-dollar basis. While today’s suggested retail prices could easily increase $10 without going well outside historic norms, modern-day costs seem higher than ever when compared to their purely downloadable brethren.

The Cartridge era

Jonathan Gitlin

In 1982, a copy of Activision’s Tennis would run you $19.99 in Sears’ holiday wishbook. That may sound like a bargain basement price, but it’s actually equivalent to a moderate $48.18 in 2013 dollars. On the other end of the spectrum, a new copy of the Intellivoice-supporting B-17 Bomberon the Intellivision would cost you $39.99 in that same catalog, or $96.38 in today’s dollars. Early gaming was not cheap.

Game prices stayed remarkably stable as the industry transitioned to the 8-bit era. While nominal prices for NES games in 1988 were generally higher than those of Atari games six years earlier, the inflation-adjusted prices for games remained at almost exactly the same $60 to $80 level, in today’s dollars, with a few outliers on either side.

But prices began to shoot up almost immediately as the 16-bit era started. Carts for the SNES and Genesis featured larger, costlier ROM chips, and those financial burdens were passed on to consumers. In 1990, a copy of Strider for the still-new Genesis could run you $67.95, which is a staggering $120.95 in today’s dollars. In 1992, stores were charging $69.99 for high-demand games like Final Fantasy III and Street Fighter II, the equivalent of $116.18 today.

As 1996 came around, prices started to fall back to historic norms somewhat, as retailers cleared out excess stock of increasingly outdated 16-bit games and got rid of cartridges for failed systems like the 32X and Jaguar. But by 1997, high-priced N64 games sent asking prices soaring again. The last few SNES games were also going for often ridiculous prices at this time; a copy of the SNES’ Toy Story for $79.99 in 1997 was the single highest nominal price we saw in our research (though other titles were higher on an inflation adjusted basis).

By 2000, cartridges were having their last gasp in the form of some tired N64 releases, but those ROM costs still prevented retailers from lowering the price too much. Wal-mart was charging $79.97 for a copy of the N64’s Castlevania: Legacy of Darkness that year even as brand new PlayStation 2 games were retailing for $50. As far as game pricing goes, Nintendo definitely backed the wrong horse by sticking with ROM cartridges for so long.

The disc era

Jonathan Gitlin

The dawn of the CD didn’t bring immediate savings for the console-based consumers, though. New games for the PlayStation and Saturn routinely retailed for $59.99 in 1996 dollars. Some titles, like Virtual Fighter 2, could go for as much as $69.99 ($103.59 in today’s dollars). Lower production costs and competition quickly brought those prices down, though, and by 1997 it was hard to find a new 32-bit game for more than $49.99 (still more than $70 in today’s dollars, though).

Disc-based game prices generally stayed at the same nominal level of $40 to $50 through 2003, which meant inflation slowly ate away at the real-world value of those games. By 2006, the introduction of the Xbox 360 and PS3 raised the top asking price for games back up to $59.99 again, but the effects of inflation meant those games were actually slightly cheaper than the $49.99 games players were buying in 1997. Meanwhile, it was getting easier and easier to find games at discount prices within a year of their release, as retailers worked to clear out shelf space for new titles.

The real price of a new, mass market, disc-based console game has barely changed in the last 10 years. It’s topped out around $60 in today’s dollars, averaging around $45 to $50 for discounted and low-priced releases. Adjusted for inflation, that’s much less than gamers were paying even during the best days of the cartridge era. Good luck getting any new game in 1993 for the equivalent of $60 today (which would have been about $37 back then).

But retail game prices haven’t fallen nearly as far as prices for purely digital games. Those downloads rarely retail for prices above $20, unless they’re trying to maintain parity with a retail release. Part of this is due to the costs of physical production, shipping, and retail overhead, and part of it is because downloadable games tend to be smaller, shorter, cheaper-to-produce titles (though this last part is changing rapidly; see the recent release of the meaty State of Decay as a cheap download).

Part of the pricing gap, though, is likely due to the sheer momentum of a retail market price that hasn’t changed in real terms in so long. Increasing broadband penetration and increasing competition from the purely digital side of things might be enough to snap the retail market out of this streak and into more flexible pricing in the near future. Alternatively, the major publishers and Gamestops of the world might try to increase their retail prices in an attempt to make up for ballooning development costs.

Remember, though, even if retail prices stay the same for the next 10 years, a $59.99 game in 2023 will be significantly cheaper than the $59.99 game you are picking up today.

Via Ars Technica

GTA Online suma a su alineación Motor Wars, un modo de juego de vehículos, violencia y mucha acción.

GTA Online ha permitido a Grand Theft Auto V convertirse en una verdadera experiencia multiplayer con muchos complementos que mejoran, e incluso superan la experiencia del juego principal. Una vez que se ha completado el modo de historia y se aburran de recorrer y causar caos y destrucción en Los Santos y su campiña – equiparse con un lanzagranadas o un lanzacohetes creanme, es muy relajarte y extasiante (?), aunque prefiero el gatling gun y una buena cobertura -, pueden probar alguno de los complementos que Rockstar Games tiene disponible para el juego, uno de ellos que hará las delicias de los fans de juegos como burnout con cientos de vehículos y complementos para sus batallas de hasta 28 jugadores – claro, que algunos de ellos cuestan dinero del juego que debe ser adquirido con dinero real -y les ayudará a pasar horas insanas de masacraron sin sentido.

Iniciaran con solo una pistola y un cuchillo – y solo una vida – se lanzaran en paracaídas en un páramo desolado y lo que siga de ahí, y su sobre vivencia depende en completo de ustedes. En el mapa encontrarán vehículos con distintas características y armamento, y en cada caso, deberán sacar lo mejor de cada vehículo para sobrevivir. El poder integrar al menos a 27 jugadores más le dará un sabor increíble a este complemento de GTA y seguramente les destrozara los nudillos al intentar sobrevivir en este páramo desolado donde la única regla es todos contra todos y su habilidad y pericia les salvará el trasero – o los pondrá de puntitas en el arma de alguien más – y si lo suyo no son los vehículos o simplemente no han podido hallar alguno que les agrade, en algunos lugares del mapa podrán hallar railgun para hacerse cargo a tiros de la mayoría de los vehículos – aunque algunos serán más duros que otros – y por ello, tal vez encontrar ese armado con lanzamisiles no sera la salvación de cualquiera.

La acción se concentra en 4 equipos que unirán fuerzas para masacrar a los otros, y como en aquellos clásicos tiempos del Unreal Tournament, la diferencia entre la victoria y la derrota será su velocidad y habilidad, mas que lo armado y poderoso de su vehículo. Les dejamos algunas imágenes de este complemento y si se animan a comprarlo, les prometemos una experiencia de batalla que los enloquecer – y destruirá sus relaciones familiares de modos que aún no imaginan – por todo ello muy recomendable.

Vía Rockstar NewsWire

La Resident Evil 7: Gold Edition sale en diciembre al lado de los nuevos DLCs Not a Hero y End of Zoe

Si bien es cierto que la saga de RE no es lo que solía ser, las nueva versión de Xbox One y en particular la de PS4 que incluye soporte para PlayStation VR es evidente que se están adaptando a los nuevos tiempos, volviendo a su origen de ser un survival de horror donde cada bala era un tesoro y sobrevivir era casi imposible – los antiguallas como yo recordarán el RE3 y sus misiones casi letales en una consola que apenas tenía 2 mbytes de RAM y aun así nos ponía a sudar – por lo que probarlo en un entorno de realidad virtual es casi un caramelo.

Capcom acaba de anunciar que lanzará RE7 este diciembre para Xbox One, PS4 y PC, junto con todos los DLC previos y contenidos extras como Banned Footage Volume One and Volume two. Banned Footage incluye dos capítulos y un medio extra: Bedroom, Nightmare y Ethan Must Die. Banned Footage Vol. 2 incluye dos escenarios u un nuevo modo: 21, Daughters y Jacks 55th Birthday.

El nuevo DLC “In the End of Zoe” los jugadores descubrirán que paso con Zoe, mientras se enfrentan a nuevos enemigos y exploran nuevas áreas del pantano. End of Zoe estará incluida en la versión gold del RE7, o estará como actualización si se adquiere un Season Pass. Si compraron el juego hace tiempo también podrán tener los DLCs si invierten algunos dolores.

Chris Redfield regresa en el DLC gratuito Not a Hero que ocurre después de los eventos de RE7, Chris enfrentará nuevos retos, y tanto él como su equipo necesitarán ponerse listos si desean sobrevivir a lo nuevo que viene.

Not a Hero estaba originalmente planeado para ser lanzado en la primavera de este año pero distintas cuestiones lo retrasaron y por ello estará hasta en diciembre.

Según Capcom, Resident Evil 7: Gold Edition y el resto de los DLCs estarán disponibles el 12 de diciembre en Europa y NorteAmérica. Para los early adopters del Playstation VR, todo el contenido, incluido los DLCs serán compatibles con el costoso visor – y su aún más costosa consola –


Call of Duty: WWII Estrena su beta privada

Aquellos usuarios de Xbox One y PlayStation 4 podrán acceder a la beta privada del Call of Duty: WWII desde el 1 de septiembre, hora de la ciudad de México. Gracias a esto el modo multijugador y un solo mapa esta disponibles para que los fans de la franquicia se den una masacre simulada en la segunda guerra mundial con nazis y potencias del eje incluidos.

Si preordenaron el código con tiempo y ya están jugando los envidiamos enserio, si no preordenaron no les sera posible acceder a esta beta y tendrán que esperar al lanzamiento final del juego el 3 de noviembre de este año. Al inicio los servidores tardaron en servir los códigos de regalo pero la situación ya se ha normalizado y miles ya disfrutan del modo multiplayer en linea.

Es importante notar que El Segundo periodo de prueba es muy distinto al primero ya que involucra otro mapa y modo de juego. Sledgehammer ademas espera que con el feedback de los usuarios, se pueda entregar un juego mucho mas depurado y completo por lo que su ayuda es muy necesaria.

Sigan destrosandose los nudillos y digamos que les parece en los comentarios.


New Uncharted Game coming to the PS4 and looks great

Honestly, before Uncharted, i was a little dissapointed about the fact that the TR series has become something more close to a shooter than a exploring game, but this exclusive Sony series has changed my mind. The Game that run on PS Vita was awesome even when its console parent was superb. This new game takes on a new caracter and looks even better, mostly because is a PS4 exclusive and the new hardware runs amazing… hope this can be a dignified succesor to all Uncharted series.

Uncharted 2’s Chloe Frazier will be the heroine of Uncharted: The Lost Legacy, a standalone adventure coming in 2017. The game will pair Chloe with Nadine Ross from this year’s Uncharted 4: A Thief’s End.

The game was announced in the cold open for the annual PlayStation Experience event. In the eight-minute long demo, a woman sneaks through a town wearing a red hijab to conceal her identity. After pulverizing a band of bad dudes, she removes the cloth to reveal the infamous Australian treasure hunter.

Vía The Verge