اول جزء عالم مفتوح فعلا ذو، اي مكان بالخريطة تروح لههو زيلدا كذا، زيلدا ما تقدر تسميها عالم مفتوح فعلا الا ببريث اوف ذا وايلد.
بس مقصدك وصل
اول جزء عالم مفتوح فعلا ذو، اي مكان بالخريطة تروح لههو زيلدا كذا، زيلدا ما تقدر تسميها عالم مفتوح فعلا الا ببريث اوف ذا وايلد.
الكومبات والاكشن فيها كان جدا خرافي وخاصة اذا لعبت على صعوبة الجرواند هنا اللعبة تتحول لأعظم تجربة سرفايفل .جيمبلاي ذا لاست من 2013
بس برضه سكربتد لول
يظل داونجرد عن أول إستعراض للجيمبلاي :جيمبلاي ذا لاست من 2013
بس برضه سكربتد لول
يظل داونجرد عن أول إستعراض للجيمبلاي :
عموماً ملاحظ ان الفريق يحاول يطبق بعض من الأفكار الملغيه هذي مع Part 2.
اعتقد انه فيه سوء فهم، انا أقصد بالداونجريد الذكاء الإصطناعي للأعداء البشر و طريقة تفاعلهم مع اللاعب و ليس الmelee combat، الأمثله اللي ذكرها الفيديو اللي انت وضعته هي عن تنوع الحركات اللي ممكن يعملها الأعداء او اللاعب بناء على الأماكن المحيطه بهم ( شيء موجود في Uncharted 3. )انت شفت الفيديو اللي انا حطيته ؟
فيه ميكانكس اقوا بكثير من اللي شفناه فتريلر الE3
الجندي وهو يسحب جول من رجوله وينزله
تفادي الاعداء للضربات
صد جول لضربات الميلي من الاعداء
فاللي صار هو ابجريد للي شفناها فتريلر E3
يظل داونجرد عن أول إستعراض للجيمبلاي :
عموماً ملاحظ ان الفريق يحاول يطبق بعض من الأفكار الملغيه هذي مع Part 2.
Lastly, I should probably state the obvious: the game looks proper gorgeous, even to a non-graphics whore. Everywhere you look the benchmark has been raised, often in ways that just look like Naughty Dog is showing off. I was in a race against time to consume as much about this game as humanly possible, and yet I blew five minutes here and there simply watching things in awe
The most immediately apparent thing about The Last of Us Part II is just how incredibly gorgeous it looks. I shouldn’t be surprised, this is Naughty Dog we’re talking about, but the sheer level of detail in the world, the characters and in particular all of the animations, is truly second-to-none. Red Dead Redemption II might have had claim to the ”Most Frighteningly Realistic Horses” crown for a while now, but it faces some stiff competition here.
From the painstakingly detailed interiors full of brilliant environmental storytelling and incredible lighting direction, to a particularly panic-inducing snowstorm complete with unbelievable weather effects, this is one hell of a good-looking game. Going back to the first game ahead of this preview, I was reminded of just how far ahead of their time the animations were, especially for last-gen, and I wondered how much further Naughty Dog could feasibly take it. Turns out: very far. This game will no doubt be the benchmark for animation and art direction for years to come.
At the end of the day (and the world, I guess) The Last of Us Part 2 is shaping up to be something truly special. I went in with the absolute highest of expectations, and they were met. The visuals here set a new benchmark, and the new motion-matching animation technique makes the on-screen action look eerily lifelike. Likewise, the combat is white knuckle stuff, be it desperate shootouts in the streets or a series of bunghole-puckering melee brawls in dank suburban dungeons. More importantly than all of that, it just feels great in your hands – flawless, even in this incomplete state.
Not only is this the new current champion of Prettiest Game We've Ever Seen award, it's also a sheer delight to watch in full flight. Naughty Dog has invested in a new motion matching animation system that seamlessly blends and variates every action you do in the world. It's eerily lifelike stuff. No two encounters will ever look the same.
Props also have to be given to the animation department. Part II is just as impressive in motion as it would be frozen in a photo mode. I can't fully explain the magic that is Motion-matching to you here, suffice to say it eliminates those weird hitches that occur as one animated action transitions to another. Buckets and buckets of blending animations can be leveraged to make an entire game look like it was mo-capped from start to finish on a stage by real humans. Super, super impressive stuff.
What I see is from the moment we start talking about the game and revealing it to the moment you’re playing the game and finishing it, that’s part of the narrative experience. So everything we’ve put out there, we’ve been very deliberate and mindful, from even the Paris trailer and those characters which you haven’t seen in a while, to this trailer and these demos. Everything is done in a way to entice you but also to protect the story and protect the experiences we’re after in the story.”
GamesBeat: Is there anything else you’d like to cover?
Newman: The thing I really want people to understand about this game is that — as high as the expectations are for the sequel to such a highly-regarded game, I think that we’re going to go beyond those expectations. From the sound design to the AI to the environments to the level design, the breadth of the level design — we’re doing wide and vertical environments. You can see from the trailer that the breadth of places you go to, from the flooded city to these forests to all these different places — it really is far and away the most ambitious game we’ve ever made. I can’t wait for people to play it.
Before we begin we want to hold a minute silence for Ashley, Drew, Alex and Kenneth. They're henchpersons that we murdered. Brutally. They were AI minions whose names we shouldn't know but nevertheless do. Possibly forever, from what we know about PTSD.
Long story short and surprising trauma aside, this is sequel to a masterpiece that's shaping up to be a leap beyond its progenitor. In every way, too – visual fidelity, soundtrack, captured performances and – we say this last one with a thousand yard stare – enemy gore systems.
Basically, my instincts tell me that this has GOTY carved all over it. Deep. I’m planning to buy this harrowing, surely-can’t-end-well adventure on day one of release. Day two is a pre-booked therapy session.