Special Edition Diablo III Switch Bundle Revealed

Diablo III is shaping up to be a fairly big deal for Nintendo and Blizzard, two gaming giants that have mostly not worked together in decades. To celebrate, the two are going to be offering a Nintendo Switch bundle themed after Diablo III with a unique dock and art.

The Diablo III Switch bundle includes a download code for Diablo III: Reaper of Souls, a Diablo-themed carrying case with the Blizzard logo on one side, a Switch itself with Diablo art on the back, grey joycons, and Diablo art on the Switch dock. Check out pictures of everything below.

 

The bundle is available for pre-order now at Gamestop and will be available with the game when it releases on November 2, same day as the game standalone. Last week, rumors swirled around the idea of Blizzard instituting crossplay for Diablo III soon, but they just as quickly downplayed any possibilities.

[Disclaimer: GameStop is the parent company of Game Informer]

Beta Test Special Edition Diablo III Switch Bundle Revealed

Exclusive: Four Corpse Party Games Are Coming To PC Soon

It’s been a few years since we’ve heard from the Corpse Party series, but Xseed is bringing it back in force. The company is re-introducing some entries on PC that were previously exclusive to Sony’s portable systems and mobile, Book of Shadows and Blood Drive. On top of that, Sweet Sachiko’s Hysteric Birthday Bash and Corpse Party 2: Dead Patient are being added to the list of games North American players can get their hands on. 

Sweet Sachiko’s Hysteric Birthday Bash is a spin-off that takes Corpse Party in a new direction: romantic comedy. Yes, you read that right. The premise has series’ antagonist Sachiko Shinozaki, the twisted spirit who ruthlessly murdered countless students and superiors, throwing herself a birthday party. If you played previous games, you know Sachiko likes to toy with people, and we’re sure that will be on display here as she puts her guests – which include her previous victims – through various activities for her amusement. Team GrisGris said it was made in relation to fan feedback to create something a little lighter and happier…but only for this one special day. 

Corpse Party 2: Dead Patient is a brand new mainline entry in the series, and has already made such an impression in Japan that it’s spawned plenty of merchandise. It’s a standalone story, so newcomers can hop right in without knowledge of previous entries. North American gamers will receive the definitive edition that launched in Japan, which includes updated graphics, new scenarios, and an episode that includes some familiar faces. Different to previous games, Corpse Party 2: Dead Patient is being released episodically. 

So far only Book of Shadows has an official release date of October 29. Dead Patient and Sweet Sachiko’s Hysteric Birthday Bash are set to launch later this winter. Blood Drive should hit shortly after, being the last of the bunch on the docket. These will all be on PC. To get a preview of what’s in store, check out the announcement trailer below.

 

Beta Test Exclusive: Four Corpse Party Games Are Coming To PC Soon

The Most Fascinating Tools In Dreams

Media Molecule’s Dreams has an eclectic and vast set of tools in its impressive creative suite. With so many detailed mechanisms at your disposal to make your dream game, it can be overwhelming at first, especially for non-designers. However, plenty of tools are still accessible to beginners after some practice. Here are some of the stand-out ones we loved to toy with during our cover story trip.

Trigger Zones
Media Molecule describes Dreams’ tools as “visual programming,” where you work with sliders and visual cues instead of staring at lines of code. Trigger Zones are the perfect example of this, where you place a block in your world which then turns into a force field. When an object or character enters a Trigger Zone’s force field, you can set it up so that this action has a consequence. For example, a character’s health can be programmed to lower when inside the force field, or a camera can shift its view. It’s a fascinating and friendly approach to game design’s more complex systems.

Sculpting
This is one of my favorite features in Dreams. With the sculpt tool, you can mold and form different shapes similar to how you’d shape clay in pottery. During our visit at Media Molecule’s studio, much of the development team used Move controllers to sculpt, giving the impression of using paintbrushes with a canvas. Small gestures, like tapping the Move controllers together, can change the shape of a sculpt. You can also use the DualShock 4 controller, which may not feel as natural as the Move controllers but seems just as efficient to work with. During a demo, we saw the team create a giant skull cave in 10 minutes by sculpting, which you can see in the image above.  

Cloning
Similar to copy and paste, cloning lets you duplicate or multiply objects quickly. We watched Media Molecule make a gorgeous mountain that looked natural. This was accomplished by simply cloning a cluster of rocks, changing their proportions by stretching them in different directions, and placing them at different angles. You can also create bridges, structures, and platforms easily.

Animation
Coupled with cloning, animation can be particularly helpful with creating moving platforms or moving obstacles in a game you make. When in animation mode, you can hit record then grab hold of an object to move it in different directions. Once that’s completed, a dotted line shows the path you created. It’s visible in edit mode, showing how the object will move around your world.

Combing
Combing is just one of the quirky, detail-oriented methods you can use to make an aesthetic look just right in your game. Similar to how a brush is used to comb hair, this smooths out and affects the direction of the strokes on objects. For example, it can even work with bodies of water and change which direction they flow in. You can add other styles, too, such as a painterly “impasto” effect as seen in Van Gogh’s Starry Night.

Puppets
In Dreams, your cursor takes the shape of a small customizable imp, which is used not only to grab things or navigate the world, but it also lets you possess items and characters. To create a playable character, one of the best methods is using the puppet tool. Here, you can work with a premade construct that looks vaguely human and build a character however you like. You can add joints to make elbows and knees bend naturally, even throw in a stylized walk so that you can add some spring to your step or bring some sass to how the character holds themselves. Much of this is accomplished with sliders to make it easier.

Music Tool
Dreams’ music tool is so expansive it feels like a separate entity entirely. Similar to the depth you’d find in a professional program like GarageBand, you can create a musical theme for your game, sound effects, voice-overs, and more. With the PlayStation Camera or with your own USB microphone, you can record real-world sounds and place them into your virtual universe. For example, Media Molecule pointed us to an old piano in their cafeteria, saying that tunes created on that instrument are heard in the main campaign. If you don’t want to use real-life instruments, a plethora of ready-made sounds can be remixed and toyed with inside Dreams. You can use the perform tool to choose the right notes and build a song.

For more on Dreams, click the link below to check out our hub which is filled with exclusive interviews, videos, and more.

Beta Test The Most Fascinating Tools In Dreams

Rockstar Games Talks About Criticism Regarding Women In Its Games

With Grand Theft Auto, Bully, and Red Dead Redemption, Rockstar Games has proven itself to be one of the most innovative and provocative developers in the industry. But their games aren’t always perfect. One of the most constant criticisms lobbied at the developer is a misogynistic streak over how the games treat its female characters, particularly when it comes to prostitution mechanic in Grand Theft Auto as well as story beats that feature women being kidnapped and beaten. Despite demonstrating the ability to create interesting and strong women characters like Bonnie McFarlane, no Rockstar Game has featured a woman as its protagonist outside of the avatars you can make in modes like Grand Theft Auto Online.

Speaking with Vulture, co-founder Dan Houser spoke about female characters in the context of Red Dead Redemption 2, implying that female representation will be different than previous titles:

Rockstar has been criticized for the lack of empowered women in its games. Dan believes that won’t be an issue in RDR2, which features, among others, “this old intellectual called Lillian Powell, who’s come back to the South from New York, who’s almost like a Dorothy Parker character. There are also ones who are weak and ones who are weak and become strong and ones who think they’re strong but are not. And that goes for men, too.” The burgeoning women’s suffrage movement also figures in the story. “It was a time when women were beginning to question [their roles], and the Wild West was an area where people could invent themselves for the first time; many of the people who were inventing themselves were women,” says Dan. “They were no longer constrained by society, because there was no society.

The whole piece is a fascinating behind the scenes look into Rockstar Games. You can read it here.

For more on Red Dead Redemption 2, check out our hands-on preview here.

Beta Test Rockstar Games Talks About Criticism Regarding Women In Its Games

Rockstar Games Reveals New Details About Red Dead Redemption II, Including Game Length Estimate

Vulture recently got the chance to visit Rockstar Games’ Manhattan office and talk with the development team as Red Dead Redemption II nears release. The publication came away with a number of noteworthy new details.

Here are some of the biggest ones:

  • When Vulture visited Rockstar, the game was “65 hours long.” The publication notes that Rockstar has chopped off five hours, some missions, and a second love interest for protagonist Arthur Morgan because they “didn’t work.” That doesn’t mean that the final product is necessarily 60-plus hours but it does give you a proper estimate. 
  • The developer asserts that each of the non-playable characters has 80 script pages of dialogue.
  •  Graham Greene, an actor best known for his role as Kicking Bird in Dances With Wolves, is playing a character in Red Dead Redemption II.
  • Ivan Pavolich, Rockstar’s music supervisor, broke down the philosophy of the game’s sound design, with Pavolich claiming that “players can hear entire concerts at town vaudeville shows, as well as more atmospheric music when they explore the open world and encounter some 200 animal species, each of which makes its own sound.”
  • Rockstar says its representation of women will be different compared to previous titles (more on that here).

For more nuggets of information, you can read the Vulture piece here. If you want to know what we think of Red Dead Redemption II’s gameplay so far, here’s our hands-on preview.

Beta Test Rockstar Games Reveals New Details About Red Dead Redemption II, Including Game Length Estimate

The Making Of Hollow Knight

A diminutive, seemingly unremarkable champion answers the call to adventure, delving into the unknown, travelling further with each skill acquired, with each battle conquered.

Team Cherry has more than a little in common with Hollow Knight – a game that propelled its creators from obscurity, to moderate Kickstarter success, to glowing reviews, to the top of the Nintendo Switch charts in a whirlwind few years.

“I was spying on Hollow Knight’s Discord to watch the community’s real-time reactions, and when I saw someone type in, ‘Reggie said the words Hollow Knight, I can’t believe it!’ I burst out laughing. It was a good feeling.”

That’s William Pellen, Hollow Knight’s game designer, co-director of the studio, and half of Team Cherry’s creative core. The Reggie he’s referring to is, of course, Mr. Fils-Aime, president of Nintendo of America, who, at E3 2018, took valuable moments out of the company’s presentation to help sell the dream of a tiny Adelaide-based indie developer.

“It was amazing! Kinda scary, too, because it was our launch day and we were all the way in Los Angeles, so far from our office,” Pellen says. “But mainly it was amazing.”  

Ari Gibson, Hollow Knight’s art supervisor, co-director, and the other half of Team Cherry’s beating heart adds that seeing Hollow Knight on the Switch is still “surreal” for them. “The game is built upon our love of classic Nintendo games, so this is the peak of a 30-year cycle: growing up playing them, gaining enough skills to create our own homage to those games, and releasing it on the same platform that inspired us in the first place.”

Needless to say, the cycle paid off. Hollow Knight’s PC, Mac, and Linux release passed the 1 million units sold threshold the day before the Switch launch – a milestone that took 15 months to reach. That pace has accelerated of late. In just its first two weeks on Switch, Hollow Knight sold more than 250,000 copies, adding Team Cherry to the growing list of indie developers finding success on Nintendo’s handheld; a marketplace not yet flooded like Steam or the App Store.

And it all began with a game jam. (Well, two game jams, to be precise…)

Ari Gibson (left) and William Pellen (right)

The Pale Knight Rises

Pellen and Gibson met 15 years ago through mutual friends, but didn’t start working together until shortly before Hollow Knight’s development, when they began entering game jams together. Countless indie teams have been forged in the feverish days of creativity a jam entails – Team Cherry is no different.

Hollow Knight’s protagonist – a silent, nameless, genderless, beknighted insect – was conceived during Ludlum Dare, one of the world’s longest running jams. For the 27th iteration, held in August 2013, a nascent Team Cherry created a top-down survival title called Hungry Knight, in which the now-familiar hero kills bugs to stave off starvation.

In a rare quirk for an industry typically terrible at preserving its own history, Hungry Knight is still playable on Flash games site Newgrounds – where it carries a user rating of one out of five stars. To put it bluntly, it isn’t very good. Aside from Gibson’s striking art style, and the pale-faced, nail-wielding insectoid, there are few hints at the quality to come.

 

In classic indie fashion, the next formative game jam on the path to Hollow Knight was missed completely. “We were on the lookout for ideas to work on,” says Pellen.

“Shortly after [Ludlum Dare] there was another jam with the theme ‘Beneath the Surface,’ which we thought was really evocative. We missed the deadline for the jam, but we kept talking about what sort of game we could make that would fit. We thought of the little insect knight exploring a deep, old kingdom beneath the surface of the world, and everything kinda snowballed from there.”

If Hollow Knight had a single defining light-bulb moment, this was it. Metroidvania maps resemble ant nests anyway, so setting a game in a subterranean hive is an inspired idea: Hollow Knight is a near-perfect match of form and theme.

With a concept both Gibson and Pellen were enthusiastic about, development began. Being well versed in NES-era platformers, the pair recognized that nailing satisfying moment-to-moment mechanics was crucial. And in any platformer, that begins with the jump. “We wanted players to feel totally in control of their character at all times, so our model for movement was the Megaman and Megaman X series,” says Pellen.

“The Knight has no acceleration or deceleration on horizontal movement. The jump has a lot of initial lift, releasing the button cuts vertical speed quickly, and the dash completely arrests vertical movement, shooting you forward instantly.”

This all adds up to an unusually high degree of control in mid-air. The intention, Pellen explains, is to make players feel that “any hit they take or mistake they make could have been avoided right up until the last second. It’s a principle we tried to roll out through the rest of the game – but it all started with the Knight’s run and jump, the very first things to be coded.”

Hollow Knight’s jump feel was based heavily on the Megaman series

Descending Into Hallowsnest 

The Knight now needed a compelling world to venture into. The secret to any great Metroidvania is how well its map interconnects and loops back on itself, opening up previously inaccessible areas as abilities are obtained, giving players a true sense of discovery – all while subtly planting narrative seeds throughout.

Hallowsnest, a once-thriving kingdom fallen into decay, excels at this. As players delve deeper, the grandeur of the old world seeps through the rot. The City of Tears, built underneath a subterranean lake, is blanketed by a perpetual rain that trickles down opulent, ceiling-high windows hinting at glory long faded; The Queen’s Garden’s, once the private sanctuary of an ageless monarch, is now overgrown with thorns and swarming with worse.

Gibson’s hand-drawn sketches were scanned directly into the game engine, helping to create the vivid sense of place. “I photographed them with my phone and cleaned them up on the computer. From there it’s just adding pieces into the world until it feels full,” he told Game Informer last year. “‘Keep it simple’ was our visual goal. That mantra carried through to the rest of the art, and was probably integral in us being able to create so large a world in two years.”

 

And a large world it is. During the opening hours, players can become hopelessly disorientated. This is deliberate: you can’t feel like an explorer if you always know where you’re going, after all. “We didn’t worry too much,” says Gibson. “It’s a game based largely on Metroid, so the whole experience is about the joy of getting lost and finding your way.

“Some signs are placed in areas that provide appropriate context, and we do lightly use the abilities you collect to keep players in safe areas… but we didn’t stress. Instead of focusing on ways to direct players, we focused on giving them interesting things to stumble on as they found their way through the world: hidden characters, treasures, and battles.”

Team Cherry says maintaining that sense of discovery while still giving players a useful map of the world was the single biggest design challenge faced during development.

“The map and the mapping system took a long while to come together,” admits Gibson. “We wanted players to feel like an explorer entering uncharted lands, so we knew that the map couldn’t work in a Metroid-style way. It couldn’t know the shape of the landscape before the player did, but it also couldn’t be so unfriendly that a player would turn off the game in frustration.”

And there’s a fine line between compelling and frustrating.

“Mechanically that meant purchasing simple maps from a cartographer and expanding on those yourself as you explore,” Gibson explains. “Artistically it meant finding a visual balance for the map that suggested just enough, but wasn’t a giant mess of overwhelming detail. Turns out drawing maps is tough! We threw out a lot of them before we reached the final version. In retrospect, we’re pleased with how the system turned out. It’s a wonderful balance.”

This is the second digitally drawn map of Hallowsnest from development, showing item placement. Note the inclusion of the Boneforest near the bottom, an area that was cut from the game (more on that later)

In another inspired touch, the world of Hallowsnest evolves ever so slightly. By design, Metroidvanias always require a certain amount of backtracking. The trouble with this trope is that earlier areas become far too easy – tedious even – once the character has powered-up enough to face later areas.

Hollow Knight solves this problem by altering its starting area in the late-game: “The Forgotten Crossroads” becomes “The Infected Crossroads,” now filled with a corrupting orange goo that blocks off well-travelled routes and mutates enemies into deadlier, more-level appropriate variations of their earlier incarnations.

“One of the most interesting parts of a Metroidvania is when you return to an area with a new suite of moves and suddenly traversing the area feels different,” Pellen says.

“What was once a maze of one-way paths and dead-ends is suddenly open and free, and the enemies that were dangerous hazards before are no longer so deadly. In a way, the area ‘transforms.’ We had the idea to make this transformation literal by completely changing a starting area as you progress through.

“It makes for a nice surprise and gives you the sense the world is more dynamic and alive than you realized. We were relatively restrained with the idea, only majorly changing one area, but you could definitely extend this in all sorts of interesting ways!”

Crowdsourcing Inspiration

With five sections of the world completed, the team took to Kickstarter in November 2014, seeking the modest sum of AU$35,000. They passed their goal, bringing in AU$57,138 from 2158 backers. With the extra money, Team Cherry was able to expand the scope of the game and hire some extra help: David Kazi as technical director (“since he knew how to code,” says Pellen) and Chris Larkin as composer and sound designer.

 

For an untested, unpublished team, the success of the Kickstarter didn’t just provide funding: it let Gibson and Pellen know they were doing something right, a confidence boost you can’t put a figure on. 

“It was the first signal that, conceptually at least, that we were on to something cool,” says Gibson. “We ran a beta several months after that, which included the entire first area of the game, The Forgotten Crossroads. It was the stellar response to that area that really cemented our direction for Hollow Knight.”

With a now-invested community, Team Cherry began updating backers on progress at regular intervals. Strangely enough, this openness became the source of one of Hollow Knight’s more unique ideas.

“During the Kickstarter we were asked in an interview what would happen to the player, mechanically, when they died in the game,” says Pellen. “We said something like, ‘Oh, it’ll be a great surprise!’ and then after the interview we realized we hadn’t actually considered that yet…”

In numerous games players drop accrued currency upon death, which can then be collected from your corpse on the next run. Hollow Knight adds a unique twist to this, making players fight a ghostly incarnation of the dead Knight before regaining their cash. If it kills you, bad luck.

“We’d already completed the Knight’s death animation, which ends with his head falling to the ground and cracking,” Pellen explains. “We thought it might be interesting if you had to travel back to the place you died, find the skull, and crack it open to regain your money.

“Then we kicked around some ideas about the skull being possessed by an enemy, or suddenly fighting back, which seemed really funny. This evolved into the idea of leaving behind a ghost of your previous life that attacks you, which eventually became the ‘shade’ that you encounter in the final game.

“This is a really good example of a simple mechanical idea we made early on, that seemed inconsequential at the time, ending up having a huge impact on the lore and the history and the nature of the character you play as. Which happened a lot.”

The Final Cut

Hollow Knight was slated for a June 2015 release, but with growing ambition and numerous Kickstarter stretch goals met, 2015 flew by. As did 2016. Cuts needed to be made.

“We removed one large area from the game, the Boneforest,” says Gibson. “It was a huge later-game area filled with lava. Cutting it was tough at the time. It seemed so cool! But it was totally the right thing to do. William and I were already slammed with all the other enormous areas to build, and they all would have suffered for Boneforest’s inclusion.

 

“We also significantly reduced the size of Deepnest, which seems unbelievable, given how huge it ended up being, but most players would thank us for that decision. Too long in Deepnest isn’t good for anyone!”

The gaming landscape had also shifted dramatically by this point. In late 2014 when the Kickstarter ran, this console generation was relatively fresh; anything could have happened. But by early 2017, the promised Wii U version – a console on death row with a successor announced – was a millstone around the neck.

The tough decision to cancel the Wii U version and shift focus to the Switch was made. “We had done a fair bit of preliminary testing and it was running [on Wii U] with most of the basic features, but performance would still have required further work,” Pellen says.

“It was hard because we loved the Wii U and we’d promised to get the game on there. But looking at the time frame, the Switch was fast becoming the main Nintendo console and our backers were already moving over. When we made the change, backers were excited for the shift and Nintendo was tremendously supportive through the process.”

The Conquering Hero

There’s no guaranteed path to indie success. Hits come from unlikely places and anticipated games flop all the time. But Team Cherry’s open communication and compelling twist on a popular genre – a genre largely abandoned by its forefathers – gave the studio every chance.

In early 2017, from a “cozy” office nestled in the heart of Adelaide, Australia, Hollow Knight sprang forth. Not only was it an unexpected commercial hit, critics loved it. The PC release has a Metacritic score of 87; the recent Switch version sits on 90.

With a second playable character, Hornet, still on the way, and physical boxed copies of the Switch, PS4 and Xbox One versions due in 2019, the journey isn’t yet over. It’s hard to deny Hollow Knight’s place as one of the most significant video games ever developed in Australia.

Back when Hollow Knight was just a loosely defined idea conjured from game jams, Team Cherry hadn’t envisioned anything like this. “Our goal was always to get ourselves into a position where we could just keep making stuff, and we’re grateful we’ve gotten there thanks to everyone’s support,” says Pellen.

“Defining success [back then] was easy,” adds Gibson. “It was just, ‘Selling enough to be able to make another game.’ Had we achieved only that, we would have been happy.”

Beta Test The Making Of Hollow Knight

Black Ops 4 Breaks Activision, PlayStation Store First-Day Digital Sales Records

Along with some pretty high praise from critics (including Game Informer’s own Dan Tack), Call of Duty: Black Ops 4 has also gained some pretty high sales numbers from customers, breaking a few sales records on the digital sales front.

Activision has announced Black Ops 4 has sold more digital copies in its first day than any other game in Activision history, beating out Call of Duty: WWII’s previous record and becoming the most popular Activision title on the Xbox One storefront. It’s also broken the first-day record for any full game release on the PlayStation Store. Black Ops 4 also sold twice as much as WWII on PC, likely owing to this being the first game in the series to release on Battle.net instead of Steam. The company did not release specific overall or platform-specific sales, however.

For more on Black Ops 4, check out our recent New Gameplay Today Live using the game’s split-screen feature, as well as our coverage hub for the game below.

Beta Test Black Ops 4 Breaks Activision, PlayStation Store First-Day Digital Sales Records

Check Out Some Behind-The-Cameras Secrets From Throughout The Resident Evil Series

After taking a look at what’s going on in individual games outside the purview of the cameras, Youtuber Shesez has encompassed a series’ worth of strange secrets in the latest episode of Boundary Break, which covers a few Resident Evil games.

Watch for some strange tidbits from throughout the series, which include neck textures only the women in Resident Evil: Umbrella Chronicles have, what happens to the Licker in Resident Evil 2 when it’s not crawling on windows, and how some of the series’ most iconic scenes are choreographed.

Beta Test Check Out Some Behind-The-Cameras Secrets From Throughout The Resident Evil Series

Epic Games Suing Popular Fortnite Youtuber For Promoting And Selling Cheats

Epic Games is apparently looking to “disgorge” popular Fortnite Youtuber Brandon “Golden Modz” Lucas and occasional partner Colton “Excentric” Conter of profits the two have made from promoting the use of cheats on their Youtube channel, then selling the mods they use to cheat.

Engadget reports that Epic alleges that Lucas, one of the most popular Fortnite Youtube personalities with over 1.7 million subscribers, broke the Digital Millennium Copyright Act by posting videos of himself (and occasionally Contor) cheating at Fortnite using illegal mods, then hawking them to viewers. Epic had asked Lucas to pull the videos down, but Lucas refused, saying he didn’t see the issue with what he was doing, and citing that others were doing the same thing.

As creator of perhaps the most popular game in the world right now, Epic has every incentive to keep the game cheat-free. The company went as far as acquiring an entire anti-cheat company, the Finland-based Kamu, for that purpose. And with crossplay currently in open beta and coming soon to PS4, the stakes to curb cheaters is at all-time high.

[Source: Engadget]

 

I don’t think the “everybody else is doing it” excuse is going to get Lucas out of this one. He’s one of the most popular people selling cheats, and the guy has to know what he’s doing is sleazy, especially since one many players (especially young ones) start looking for cheats, they’re likely to come upon malicious websites claiming to offer them.

Beta Test Epic Games Suing Popular Fortnite Youtuber For Promoting And Selling Cheats

Learn More About The Origins Of Assassin's Creed Odyssey In Did You Know Gaming's Latest Video

Assassin’s Creed Odyssey further refines the formula set about by its predecessor, Origins, creating a larger, seafaring world and emphasizing dialogue trees and choice. Game Informer reviewer Joe Juba has taken the the game’s improvements, and it seems players have too, as Odyssey has a set a sales record for the series. If you’re one of those many buyers, you might be interested to learn more about it from Did You Know Gaming’s latest video.

The video covers a number of facts about the game, including how the game was developed in tandem with Origins, how its dialogue system was inspired by Plato’s original back-and-forth dialogues, how Ubisoft Quebec researched the locations in the game, and how the team had one of the voice actors develop the standard Greek accent they used across most characters in the game.

Beta Test Learn More About The Origins Of Assassin’s Creed Odyssey In Did You Know Gaming’s Latest Video