Category Archives: Games

Some Things You Didn’t Know About PlayStation VR

g2PlayStation VR launches this week, and looks like it could well be the first proper “living room-friendly” virtual reality setup. If anything has a decent shot at demystifying virtual reality gaming and making it a little more “mainstream” this year, this is probably it. At the very least, the gargantuan marketing push that Sony is making is prompting people to at least consider trying something new that’s maybe a little outside their comfort zone. The company claims to have already given more than a quarter million demos at Best Buys, GameStops and other stores in an effort to convey the fact that VR is really something you need to see and – more importantly – feel to fully comprehend its potential.

Sony initially appeared to be uncharacteristically late to the VR party – announcing its $399 device for PlayStation 4 this March, more than a year after the other high profile VR headsets like the Oculus Rift and HTC Vive for PC – but it has actually been working in secret on it for more than half a decade. Glixel spoke with Shawn Layden, the chairman of Sony Interactive Entertainment’s worldwide studios for some insight into how initial development of the headset had nothing to do with Sony management, how there’s no plan to try and replace more traditional gaming setups, and how he’s trying to avoid a lull in games after launch.

Here are the five most surprising revelations from our conversation.

Sony bosses never instructed anyone to develop a virtual reality headset – it all came about from engineers tinkering in a lab building it on the quiet.
“If you ask when it was ‘first floated’ as an idea – really, what is that?” asks Layden, when we quiz him on how the notion of VR was brought up as a new initiative at Sony. “Is that when they first started working on it? Or the first time they had the courage to tell management they were working on it? If you look back at the EyeToy cameras that we did back in the PS2 days or the Move controllers or the SingStar microphones – these things always start out as skunkworks projects where someone starts with just a germ of an idea. These kinds of things do not come from top-down management decisions.”

PlayStation VR is the lovechild of PlayStation Move and EyeToy, and it took five and a half years to develop.
“The engineers were building prototypes using sticky tape to strap a Move controller to their heads to see if the camera could track it,” Layden explains. “It was always just chewing gum and sticky tape stuff. It came about by these guys asking questions like ‘what if I put this thing into that thing and then strap that to your head?’ It takes you five and half years to go from those kinds of conversations into making a product out of it. When they finally came to management with it, it was pretty well baked.”

Once Sony leadership was on board, PlayStation VR became a coordinated international effort. “We had teams right here in Silicon Valley working with the team in Tokyo on creating the platform,” Layden explains before elaborating why we’re seeing it finally come to market right now, alongside so many other virtual reality headsets. “A lot of it is because of the ability to put super high fidelity display tech into a small space. Those screens are really state of the art. Also our ability on the manufacturing and engineering side to create a headset that can deliver it all comfortably. We didn’t want it to feel like you’re wearing a football helmet or something super heavy on your head. Those elements have only come together right now. It’s no coincidence that there are other players launching VR in 2016. It seems like this is the year of VR, and now we’ll just see who has the gameplan to reach the most users worldwide.”

PlayStation VR isn’t being treated like a new console by Sony, and Layden claims there is no plan to try and replace the way we currently play games. At least not anytime soon.
“The consoles were on a trajectory that you could predict and understand,” says Layden. “Every generation is faster, smarter, more powerful, more networked, more integrated. All that. But then VR comes in perpendicular to all that. Bam! It just comes crashing in. It’s the same as the effect that the iPhone had when it came into the world of flip phones,” he says, citing a frequently used example to illustrate the paradigm shift that virtual reality represents. “People back then were asking ‘what’s the point? Why do I want to make a phone call on an iPod?’ And then they began to understand what that really meant. VR technology is at that nascent stage right now. It’s really an incubation period, and we need to see what people will do with it.”

On the subject of whether VR will replace traditional game experiences, Layden seems far more pragmatic than the majority of VR soothsayers, no doubt because Sony’s real focus is still the core PlayStation 4. “I think we’ll have games that you sit back on the sofa and play on the big screen for a long time yet. If it’s you and me and FIFA – two guys on the sofa playing in front of the TV – that’s not going away anytime soon, believe me. The really interesting part of VR is how it’s going to create new ways that we experience storytelling and game design. I think it’ll all live in peace and harmony: the big 10-foot experience and the super-immersive VR experience.”

This is just PlayStation VR version 1.0. There will be others, and the team at Sony seems to understand where some of the frustrations lie with this early hardware.
“There are some wires, yes,” says Layden when we grumble about the spaghetti-like mess of cords tumbling out from under our TV. “Remember when cellphones used to be the size of brick? They were analog and really heavy, but it didn’t stop the march of time. This is VR 1.0 right now, and of course we have engineers looking at that and what can be done in future. As we’ve shown for 21 years of iterating on the PlayStation platform I think you’ll see that same kind of energy from us to continue to improve the VR experience over time.”

“When you look at the tech and experience of VR, it’s all a completely new thing,” he says. “For some of the games in VR you could honestly say ‘I could just play that on my TV,’ and in some cases that would be true, but it’s still a very different experience. Just being able to look behind you in a game is something genuinely new and different. 3D audio really changes the experience that you can have inside an environment. Early on though, some of the games will seem kind of like a standard console living room experience – but you’re just doing it in a really immersive fashion. Eventually there will be games that will only be fully realized in a virtual reality headset, and won’t translate to the TV screen. When we start to see those kinds of game, then you’ll know that we’ve broken the back of what VR can be.”

There’s a huge effort to ensure that there’s not a game drought post-launch. Expect a steady flow of new titles.
“We have around 30 games at launch, and we’ll have more than 50 by the end of the year,” Layden says. “We can’t tell third party publishers when they have to launch, but we’d like to get away from that awful sine wave curve of titles,” he says waving his fingers up and down to describe the boom-crash release cycle we usually see after new hardware launches. “We’d like more of a continuum. It’s important that in January we have Farpoint coming out, that supports the gun peripheral that we’ve shown. That’s a whole other level of immersion for shooter games. We have more titles coming out from first party studios in the spring, and we’re tracking stuff from third parties. We’ll start to see some momentum building next year, and we’ll see a lot more publishers start to put VR on their roadmap.”

Some Reasons Game Makers Are Struggling to Make VR Fun

The virtual reality game Accounting is exactly the sort of surreal experience you’d expect from a collaboration between one of the creators of Rick and Morty and the guy behind the mind-bending game The Stanley Parable. Strap on the HTC Vive VR headset, and you are transported into drab offices, idyllic forests, and dank dungeons. You interact with objects using a vintage pointer icon straight out of Windows 95. All the while, you’re screamed at (and hit on) by a ghost, a corpulent king, and a xylophone made of human skeletons. It’s just a hint of the potential for literally anything to happen in this immersive new medium.

Amid all of this lunacy, the creators of Accounting were faced with a very mundane problem – how could they make the player look where they want them to look? In traditional games and movies, that’s been easy – you just point the camera in the direction of the thing that you want your audience to see. But if your audience is wearing a head-mounted VR display, they can look in whatever direction they choose. How do you direct the player’s attention to a specific spot in VR?

This is among one of the many fundamental problems that VR content developers are struggling to solve. They are having to learn the rules of a completely new medium, and unlearn some of the rules they’ve carried over from others.

We’ve been here before. Every new art form goes through an initial awkward phase of trial and error. When film was new, most movies were stagy and static, with the camera observing the action from the vantage point of someone sitting front row center in a theater – the best seat in the house. Filmmakers gradually learned to use camera positioning and close-ups and lighting and editing to heighten the drama.

Similarly, when video games first made the jump to 3D, game makers struggled with how best to let players look around and navigate the game world. (The original 1996 Tomb Raider’s tank-style controls have aged even worse than its crude, lo-fi graphics.) But developers gradually learned how to make moving your avatar and the camera intuitive and satisfying.

That’s the point that a lot of VR game developers are at now, according to Shawn Layden, the chairman of Sony Interactive Entertainment Worldwide Studios. He’s had a front row seat, watching games being created for (and ported to) the PSVR. “Early on, some of the games will seem kind of like a standard console living room experience, but you’re just doing it in a really immersive fashion,” says Layden. “Eventually, there will be games that will only be fully realized in a virtual reality headset, and won’t translate to the TV screen.”

Layden compares the process of figuring out what works and what doesn’t in VR to learning a new language. “We talk about grammar and the syntax a lot,” he says. “We’re starting to create the lexicon of VR to describe these things, because it won’t be the same as the words we use to describe current experiences.”

So how are VR game developers learning the vocabulary of their medium, like making the player look in a certain direction?

In the case of the game Accounting, the answer was surprisingly simple. “When we need players to look somewhere, we just make a phone ring, or we make a baby cry,” says Justin Roilland, co-creator of Rick and Morty, and co-founder of VR studio Squanchtendo.

Timoni West is the principal designer on the Labs VR team at Unity – a code and development platform that powers more and more of today’s games. She thinks that’s smart.

“I see a lot of developers using audio cues,” she says. “You can’t control where people look, but you can use directional audio to whisper in someone’s ear, or trigger a loud noise that seems to come from behind them. That makes people instinctively turn around.”

Unity aims to be the go-to development tool for people designing virtual reality games for computers, consoles, and mobile devices. West’s Labs VR team at Unity is trying to provide everything developers need for the profusion of VR platforms, like a wide variety of input sources – physical controllers with buttons as well as hand gestures and the direction of your gaze. She’s also noting the best practices that seem to be emerging.

West sees all sorts of examples of game developers taking advantage of the potential of VR to create uniquely intense moments, like Insomniac’s Lovecraftian chiller Edge of Nowhere. “At one point, you hear this creepy voice behind your head, and from the corner of your eye you see these, these tendrils coming at you,” she recounts. “I watch people playing that, and they’re like, ‘Nope, nope, nope …'”

But she also sees projects that don’t take full advantage of the medium. For instance, many VR content creators fail to fill the full 360 degree field of view with interesting stuff to look at. “I once saw a VR experience, a sort of trailer for a cop show, that had characters standing around and talking to each other,” says West. “But these were TV actors who were trained to not move or do anything to draw attention to themselves when it’s not their turn to talk. That works in TV, but when you’re watching it in VR, it’s like you’re surrounded by a bunch of inanimate mannequins. The technique just doesn’t transfer.”

Another dilemma: How do you portray the player’s body in VR? If you look down in real life, you see your torso, your arms, your legs. Should you model a body in virtual reality?

Many games simply show the tools that the player uses. For example, if you hold up the controller in front of your face real life, you see a gun hovering in mid-air in the same spot inside of the VR action game you’re playing. Other games show virtual representations of the actual controllers that the player is grasping, or simply a pair of disembodied hands that they use to interact with the game world.

West advises designers to keep things like this simple, as anything that doesn’t match up with what a player expects to see can be very disconcerting. “I was playing this VR game Asunder Earthbound, and I could see my hands moving around in it. But they were modeled to look like the hands of an old person,” says West. “My reptile brain was instantly like, ‘Stop everything! What’s going on?! Are you sick right now?’ It completely pulled me out of the experience.”

This is a particularly tricky issue, because many have suggested that VR games have the potential to be “empathy engines,” something that can literally allow you to see the world through someone else’s eyes. West says that VR developers are discovering that they have to give players time to gradually orient themselves to having a new body. “You have to acclimate to being someone else, someone who’s taller, or is a different gender,” she says. She compares it to the moments spent settling into your seat at the movie theater and watching the lights dim before the show starts.

Simply moving around in VR presents even more conundrums. If your eyes and ears tell you that you are racing across a scorched field in a post-apocalyptic wasteland, but your other senses tell you that you are kicking back on the couch in your living room, it can undermine the illusion. Or worse – it can lead to motion sickness.

“Physics systems are a huge issue,” she says. We take it for granted that gravity doesn’t affect Mario in quite the same way that it does normal humans, but that floatiness can be disorienting when you actually feel as if you’re inside Mario’s world. And what about sci-fi games set in zero-g outer space?

“Moving around freely in VR is not a big deal for me, but I meet people who are opposed to free motion on a philosophical level.”

“Trying to get the physics to work in a way that’s not like what we have on Earth, but that is still predictable and doesn’t lead to crazy glitches, is a big challenge,” West adds. “A big but interesting challenge.”

The potential issues of moving around in the game world multiply for VR games that get you up out of your seat. Even if you’ve cleared a large play area before firing up your game, you can’t walk in a straight line for long without bumping into a wall or a couch or a bemused significant other.

Many VR developers are using a teleportation mechanic as a workaround. For instance, Epic’s Robo Recall has you slaughtering an army of malfunctioning automatons by popping from place to place like Nightcrawler from X-Men. Other games like Obduction, by the creators of the Myst franchise, gives players the option of jumping between “nodes” or moving freely through the environment.

“In the game Land’s End, by the team that made Monument Valley, you can teleport between points by looking in the direction you want to go,” says West. “It’s very beautifully done. Moving around freely in VR is not a big deal for me, but I meet people who are opposed to free motion on a philosophical level.”

One technique being explored by VR researchers is redirected walking. By subtly shifting the point of view, they can make users feel as if they are wandering freely through a large environment when they are actually walking in circles in a circumscribed area. “You still have to be in a pretty big space for that though, something like the size of half a basketball court,” warns West.

What will a mature VR experience look like, once the medium has come into its own? Sony’s Layden suggests that it might evolve into something in which the current challenges will all seem quaint. “In gaming, you’re typically objective driven; you always need to go get that thing, or go to that place, or achieve that goal or destroy that thing,” he says. “But what if I don’t feel compelled to move the way I would be in a traditional game? What is progression like in a virtual reality world where you can just stand there to experience it? VR just completely blows up the whole traditional idea of narrative.”

West, meanwhile, predicts that the evolution of the art form will slam into overdrive once game developers stop using mice and keyboards to make VR titles, and start using using content creation tools that actually utilize VR. “At Unity, we’re working on something that lets you sculpt a 3D world around you,” she says.

She predicts another explosion in creativity when these VR content creation tools filter down from professionals to the general public, citing what people are already making with Google’s TiltBrush, a simple VR app that lets you paint in 3D. “The things people are making with Tiltbrush are just crazy,” says West. “They’re doing stuff that Tiltbrush was never designed to do. It’s like they’re using Microsoft Paint to make a Pixar movie.”

VR Is the Next Step for Walking Simulator Games

Amid the dazzling, spectacle-driven PlayStation VR launch this month, a collection of developers have already harnessed the power of virtual reality to do more than freak you out or put you in the Batsuit. They’re doing something different: trying to tell intimate and human stories. For gaming, this is on-trend; over the past five years, some of the most important independent games have come from – and even defined – a genre known as “walking simulators,” games where the simple act of soaking up narrative details from the environment constitute the bulk of your experience.

Influential titles like Dear Esther, Gone Home and the recent Firewatch have made millions and won awards by replacing standard run-and-gun action with first-person perspective exploration and investigation, often at a snail’s pace. These games set the player loose in evocative locations, with few goals beyond deciphering character insights from Post-it notes, old letters and abandoned campsites, the forgotten flotsam of people’s lives. Walking simulators offer an intentionally languid experience and the gentle pace and strong narratives offer a refreshing counterpoint to the usual blockbuster bombast.

So how does this budding genre translate to the new medium of virtual reality? Bound, from the Polish indie team Plastic, is perhaps the most impressive, and by far the most emotionally impactful. It begins with a pregnant woman strolling along a peaceful beach, flipping through a notebook of crayon drawings, each linked to a traumatic childhood memory. The sketches explode into an abstract polygonal wonderland, enveloping your entire view. A vibrant sea of three-dimensional cubes roils beneath your feet, while neon colored strands of seaweed sway below swarms of darting triangles.

The game’s creative director, Poland-native Michal Staniszewski, cut his teeth in the PC demoscene, an international community of coding and art enthusiasts stretching back to the Seventies. These experimental roots show, because Bound doesn’t have many contemporary analogues. It seamlessly shifts between layers of reality and memory, delving into the main character’s haunting past through impressionistic freeze frames, turning intense emotions into vivid imagery. This abstractness works in its favor; it’s part of a deliberate strategy Staniszewski uses to flip VR’s limitations into advantages.

Bound could be the most transporting VR game yet.

“We thought that graphics on PSVR need to be abstract to be convincing” he says. “If something is almost realistic, then you think that it’s fake. When something is abstract and not present in the real world you immediately accept it.”

His theory holds up. Bound could be the most transporting VR game yet. Instead of noticing the tiny seams where the illusion falls apart – something even polished virtual reality games struggle with – you’re more likely to find yourself enraptured by the surreal surroundings. The story, too, is abstract. Rather than explicitly chronicle a family’s disintegration, the game shows you small, impressionistic slices of time: a nervous child peeking around a corner, a torn necklace, anguished cries. It’s handled with such deftness that I didn’t realize I’d mapped my own preconceptions onto the story’s events until I discussed it with the game’s director afterwards.

“The game is designed in such way that it is randomized and it does not blame any person,” says Staniszewski. The concept was sparked by his own experiences and reflections as a new father. “Families are very fragile at the moment when kids are born,” he says, “In many cases there are no responsible family members for the family break. It just happens…”

In his company’s internal play tests he found that despite presenting a neutral story, “players who had similar situations in their lives were blaming the actual person that hurt them in the real world.” It’s a surprising demonstration of how the intimacy of virtual reality can mess with our emotions in the real world.

Loading Human: Chapter 1, another new game for PSVR, offers its own analysis of the human condition, albeit one that treats its lone female character with all the nuance of an Eighties Tom Cruise movie. You don a futuristic bodysuit to play the role of the suave bachelor Prometheus, working at an Antarctic research base 200 years in the future, alongside a flirtatious single woman named Alice. Over the course of your adventure you’ll shave in front of a mirror using the PlayStation Move controllers, cook tacos, play vintage records, research high-tech physics to save your dying father, and wine and dine Alice. Eventually, she’ll reward your heroic masculine multi-tasking with a kiss and a bubble bath.

Flavio Parenti, the creative director of Loading Human, is an Italian film actor by day (he starred as Michaelangelo in Woody Allen’s To Rome With Love) and Loading Human is the result of a Kickstarter campaign funded in part by fans of his films. It’s an ambitious first outing as a game director, and his enthusiasm for the field of VR is obvious. “I believe that achieving a true bond with a virtual character is one of the greatest challenges of the next generation in gaming,” says Parenti. “People enjoy leading dual lives.”

In its attempts to create a dual life for us to inhabit, Loading Human straddles the line between a walking simulator and a pared-down Nineties-era LucasArts adventure game. Unfortunately, it struggles to find a balance between its grand vision and the technology at its disposal. Because PSVR doesn’t allow for room scale virtual reality – which uses multiple cameras to track your movements across a larger area – walking inside the game world involves standing stationary while using elaborate hand gestures with the Move controllers. It’s a clunky solution and it proves so frustrating (and nauseating) you’re better off using a traditional controller. This limits some of the immersion – not to mention the sense of manly accomplishment – you’d otherwise feel from handing your space-age girlfriend a virtual bottle of hair conditioner in the bathtub. Conversations with Alice and your aging father also falter: they vary between eerily authentic to unintentionally comic.

The game is at its best when it leans into its futuristic setting. In a later chapter you’ll find a rec room where your character can enter VR training simulations with retro-chic laser aesthetics. And mind you, this is inside a game where you’re already simulating archived memories of the main character. At one point, I counted myself climbing up – Inception-style – from four layers of nested reality back into the real world of my home office. If you can struggle through the clumsiness of the game’s interface, the story’s charms might win you over eventually. It wears its heart on its sleeve, with a romantic snow-blanketed climax and a visually imaginative cliffhanger that shoots for the stars, even if the game itself doesn’t reach them.

Meanwhile, nDream’s The Assembly has a much more modest scope and succeeds reasonably well at everything it sets out to do, while clocking in as one of the more lengthy games available for PSVR. It also shares a futuristic setting: an underground office filled with mysterious medical experiments, self-aware AIs, and deadly pathogens. The story’s technological anxieties and pervasive sense of paranoia feel uncomfortably real when you’re experiencing them wearing a virtual reality headset.

Not all the more common actions used in walking sims like Gone Home translate to VR. Rooting around in office drawers hoping to find passwords for another office becomes actual physical labor, and feels even less fun than going through file cabinets to prepare real world taxes. By the time you’ve logged on to your 10th computer terminal to read yet another blurry email (an unfortunate side effect of PSVR’s limited screen resolution), you wonder why the game even needs VR at all.

The Assembly has flashes of late-game inspiration, though, most of them featuring its central protagonist, a scientist who faces complex moral choices about her family and her medical research. Interacting with holographic projections of infection rates across the world’s continents or scanning your loved ones’ brains for memories offer you a sense of time travel. The future may not have arrived yet, but you can at least visit it for a few hours in VR.

While the flaws of these early VR adventures are difficult to ignore their contributions provide a roadmap of sorts. Audiences may rightfully expect experiences with fewer rough edges, but if you approach these games with a charitable amount of curiosity and patience, the excitement of the design possibilities ahead becomes palpable. The walking simulator faces challenges on equal footing with its promise.

Important Things You Need to Know About Nintendo’s New Switch Console

g1Nintendo used a three-minute video to reveal its latest hardware this morning, firing the starting gun on the ninth generation of video game consoles – and it turns out to be pretty much exactly what everyone thought it would be. As has long been rumored, the Nintendo Switch is a hybrid system that features a (fairly chunky) iPad Mini-like tablet that can either be plugged into a base station for TV gaming sessions or connected to its innovative controllers for on-the-go play. At first blush, it closely resembled Nvidia’s gaming tablet, the Shield – and in fact uses the same chipset to power its graphics.

The reveal video began with fan-favorite The Legend of Zelda: The Breath of the Wild and showed a seamless transition of play from couch to local park, with the player simply picking up the tablet from its base station by the TV and sliding it between the two parts of the controller that he had just neatly dismantled. The action then moved to a series of scenes that revealed more of the hardware features (kickstand for the tablet, second Xbox-style controller, headphone jack, local multiplayer) and – excitingly – more games, including Nintendo staple Mario Kart, a new Super Mario game, Splatoon, basketball game NBA 2K and the RPG blockbuster, The Elder Scrolls: Skyrim. Here’s the breakdown.

It’s coming out in March 2017
It’s confirmed, it’s happening…you’ll be able to play brand new Nintendo games early next year. No word on price yet.

It’s a tablet that you can also plug into your TV
When you’re playing at home, the Nintendo Switch sits in a docking station that plugs directly into your TV and lets you play games like a conventional game console. When you pull the Switch out of the dock, it immediately transforms into a handheld device that offers the exact same experience on a small screen. It even has a kickstand so it’ll stand up on its own.

It has multiple controller options
It wouldn’t be a modern Nintendo console without a funky controller configuration, and the Switch is no different. Nintendo has dubbed the pair of detachable mini-controllers that come with the Switch Joy-Con. “One player can use a Joy-Con controller in each hand; two players can each take one; or multiple Joy-Con can be employed by numerous people for a variety of gameplay options,” Nintendo said in its press release. You can put the Joy-Con controllers back onto the system or into a “Grip” accessory that Nintendo says mirrors the configuration of a more traditional controller (although it looks enormous.) As with the Wii U, Nintendo will also offer an optional, more conventional-looking Nintendo Switch Pro Controller to use instead.

It’s cartridge-based, just like the 3DS
The reveal video confirmed earlier rumors that games for the Nintendo Switch will come on small cartridges (Nintendo is calling them “Game Cards”) that look very similar in size to those that you plug into your 3DS. In the video we get a brief glimpse of the game being plugged into a slot under a flap in the top right hand edge of the handheld device. No word yet on whether there’ll be an online store for downloading games.

It’s a handheld that’ll boast graphics like a full console
While Nintendo remains very quiet when it comes to the specs of the new console, we do know that it’s Nvidia’s tech powering the Switch. The chip-maker posted a blog at the same time as Nintendo’s announcement, confirming previous rumors that the new console is “powered by the performance of the custom Tegra processor. The high-efficiency scalable processor includes an Nvidia GPU based on the same architecture as the world’s top-performing GeForce gaming graphics cards.” Based on the glimpses of games seen in Nintendo’s video, this means we’ll be playing games like Skyrim on the little handheld.

Tips to get Skyrim PS4 mods and install them

Skyrim: Special Edition is now available, and there’s already some great Skyrim PS4 mods available to download to add something different to your RPG experience.

The list of PS4 mods will expand over the coming months, but there’s still a fair few to get stuck into. This is what you need to do to find, download and install Skyrim PS4 mods (just remember: you only have 1GB of space reserved for mods on PlayStation 4.

All the mods are rated, which means you can see what other players think of them before you download.

Get mods for Skyrim – PS4
1. Create a Bethesda account, if you don’t already have one, or sign-in if you do

2. Link your account to your PS4 by:

– Start up Skyrim
– Select mods
– Login

3. Go to the Skyrim PS4 mods workshop and browse what’s available

4. Click “Add To Library”

5. Within the Skyrim mod section on PS4, you’ll now see it available to download. You’ll need to download update v1.02 in order to see the option.

Note – If you enable mods then you will automatically disable PSN trophies for the game. You can disable your mods from the menu by pressing ‘triangle’ next to the one you wish to disable.

Skyrim PS4 mods list
There’s some great Skyrim mods available right now, including this one called Hermit’s Hideaway, which is a small house found just outside of Raven Rock.

Other mods include ways to improve the graphics and effects, or enhance your overall experience with additional locations or objects. They currently include:

– Bard’s College Bedroom
– Rain and Snow effects
– Lore-based loading screens
– Bee hives

Speaking about the inclusion of Skyrim PS4 mods, Bethesda said: “We and Sony have worked hard to make this possible. Mods on PlayStation 4 will allow you to modify and create your own content by using our Creation Kit available here. You will not be able to upload external assets with your PlayStation 4 mods, but you will be able to use any assets that come with the game, as most mods do.”

Skyrim: Special Edition looks stunning, and will run with PS4 Pro support in 4K resolution. We’re currently embroiled in a dozen quests so our review will be live shortly.