Arkane PREY - Arkane's immersive coffee cup transformation sim - now with Mooncrash roguelike mode DLC

[insukk]

Dunno, i feel that what those screens are showing is that they have some talented people when it comes to the art-style. Graphics are nice, sure, but they are not some kind of realistic masterpiece.

 

[LESS T_T]

Interview with Raph: http://www.gamasutra.com/view/news/...antonio_on_going_from_Arx_Fatalis_to_Prey.php

He talks about Arkane's growth and culture, Call of Cthulhu, simulation approach of Prey, origin of Mimic, balance between creativity and business, choice of game engines and his desire to see more games with simulations from other developers.

'Feels like a different life': Arkane's Raphael Colantonio on going from Arx Fatalis to Prey

Arkane Studios' Raphael Colantonio is probably best known among developers today for his work on Dishonored with fellow co-creative director Harvey Smith.

But by the time Dishonored shipped in 2012 Colantonio had already been working at Arkane for over a decade, leading development of games like Arx Fatalis and Dark Messiah of Might & Magic.

These games, made back before the French studio was acquired by Bethesda parent company ZeniMax and expanded with a sister studio in Austin, failed to achieve high-profile commercial success -- to this day, Colantonio is quick to acknowledge Arx was "full of bugs."

What they did achieve, though, was attracting communities of players passionate about the games' mechanics and systems-driven design.

As Colantonio now prepares to ship Arkane's latest project, Prey, Gamasutra sat down with him to briefly chat about the projects he's shaped over the years, and how they've in turn shaped his approach to making games.

So you gave a presentation at the 2006 Montreal Game Summit -- this was ages ago -- and you talked about your experience building a small indie studio in a world of big-budget game companies.

Colantonio: Yeah, with Gamasutra, actually.

So it's been over a decade since then. Arkane is pretty big now, and split across continents. How does it feel?

Feels like a different life. Well, it feels yet so far, and at the same time so recent. It's funny how time works in people's head; in many ways we still feel like this little unknown company that just started a few years ago. Even now, like people say, "So what are you working on?"

"Oh, Dishonored."

"Oh, yeah, I played that game!"

"Yeah, sure." That's how I feel. You're just saying that to be polite, you know?

But yeah, it took a while, but it's great. It shows that with determination and believing in what you do, eventually it works out.

How has the working environment changed? I think fellow devs would be curious to know what it was like, going from one studio to two, each with their own separate projects.

I think it works out for us because it was such a slow incremental process. It took us seventeen years to go from one game - one studio, to two games - two studios.

So it's been a very very meticulous adding one piece at a time. You look at how many people we add a year, it's really not much. So at the end now it's very different even though it felt natural, because Dishonored was made between Lyon and Austin; that was probably the weirdest move for us.

I can't remember exactly how many people we had in Austin and how many we had in Lyon, but it was like two teams -- slightly bigger in Lyon. That was a real weird move and then after that, once we were done just adding people on both ends started to almost feel like you were managing two different studios at that point.

But we're still sharing the same DNA for game design; it's like the cousin that went to a different country and evolved their own way. Because you can still recognize the styles in both games, right? In Dishonored 2 and Prey, even though they're not the same team behind it.

Do you miss having that small studio focus?

Sure, yeah. It's different; when you're ten in the same room and just yell across the room because you need some file or whatever, it's not the same thing as when you have to input it in some software that goes into a list of tasks that maybe one day will be read by someone on the other side of the building.

So I do miss it, but I think we still manage to maintain the same culture and passion because we -- I think we have a very strong culture and we know why we're doing what we do, so we hire people that embrace the same values and they hire people with the same passions. So if you ask anyone at Arcane, most of them know why they're doing what they're doing, even though it's a pretty big team now.

Do you have any specific techniques or processes that you put in place to maintain that sort of culture?

Yeah, I can think of two things -- well three things. One, recruiting is very, very important. We are very, very picky.

I think the second thing is, we have a few values that are important to us. One of them is player choice, for example. So for each game that we do, Dishonored was the same and it's the same now with Prey, we have some little posters that we place everywhere in the office with the name of those values and an example and why it's important to us. Like mantras, almost. Then people wherever they go for a break or lunch or something they see this thing on the wall that would say "multi-solutions" or--

Motivational posters.

Yeah, motivational posters. That's two, and three I would say the leads, who you choose to represent what you want for the team and the game, making sure that they are really in alignment with you and they will perpetrate that culture.

Sure. I know some team leaders who do things like regular team lunches or dinners to help build studio cultures they can rely upon. But that's usually with teams of like ten or twelve people. If you have thirty or forty in your studio...

Yeah, you can't. And funnily enough we've never been so much into those things at Arkane. Like you know there are those big corporate companies that take everybody to Disney World or something. We're just, everybody does what they want to do. Some actually gather together because they want to play some RPG -- you know, Role-Playing --

Tabletop games, yeah.

But this is nothing we enforce. It's strange, we don't do the lunches and all this stuff.

Ahh, everybody's different. Do you yourself ever play tabletop role-playing games?

Not anymore. I used to play Cthulhu, actually, more than Dungeons and Dragons.

You played Call of Cthulhu?

Uh-huh, yeah.

I'm impressed. That's a rough game to play; everybody loses at the end.

Yeah, exactly. Maybe that's why I like it. The tensions between wanting to progress and not wanting to progress because you know that you are a cooler character now, but you're sooner to die.

Playing those games, did that inform your approach to videogame development at all? The way you run teams or the way you design levels or anything like that?

Probably, yeah. Yes, because, in fact, even to this day, if I design a piece of level because I want to highlight a situation that is important to me, I will actually use -- how do you say?

Graph paper.

Yeah, I will still use that with the same kind of iconography that you do on the Dungeon and Dragons.

I think that stuff's fascinating, but before we fall down that rabbit hole I should ask: now that you're wrapping up work on Prey, what have you learned from it that you'll take forward to other projects?

In the specific case of Prey? There's many lessons...on the positive side, I do think that it's really confirmed our approach to multilayered system development where we just develop a system out of context, just with the tools, and we drop it in the simulation and let it live and see what happens. Usually it spawns new ideas.

So you have an AI, for example, that you did not have before and you just give it a few rules and as it's in the game and starts to interact with the rest of the simulation and something weird happens. It pushes objects, for example -- you never thought of that. And because of that it creates some new gameplay, some new opportunities.

So we rely a lot on that and it's actually a really cool way to make games because it falls back to player expectations, I think, in the way that when these things happen, "Oh, you know what? Since this thing happens maybe we should support it and actually do this, this this." As opposed to having some sort of plan from the get-go and then just follow the plan.

So I think that's a technique that...we seem disorganized and like we don't know what we're doing, but I think it's part of a process and I really think that it's something that we now embrace and accept as mythology for us.

Yeah, like the Mimic enemies early on in Prey -- Is that an example of a thing you tested, a creature that can crawl and hide and transform into objects? Where did that even come from?

Initially, it was just we thought it would be cool to have a creature that actually turned into things to hide because we have full ecology for our aliens and how they work and each of them have a role. So the role of the Mimic was to be a scout: it scouts around to gather energy, hides, turns into things. Turning into things came as a later idea. Like, "It hides."

"Okay, how does it hide?"

"Well, you know it goes into corners and it waits for you to show up and jumps you."

Okay, that's a cool idea. Then someone had an idea, I don't remember who. "What if it turned into objects? If it actually picked an object in that room and turned into the object?"

"Oh wow, that's awesome." So we did that. Then that led to another thing because as we were developing this game we also started to think, "How are we going to acquire the powers?"

"Well, what would be really awesome would be if you could steal the powers from the enemies." So we started down that route of, "You can steal this or that." And sometime in a meeting we said, "Hey, hold on. If we can steal the powers, really we should be able to turn into objects as well."

As we said that, half of the room was terrified by the idea because it means, "Oh god, this is going to be -- maybe ridiculous, maybe silly, maybe super-hard to implement," because now you are a small thing in the world and...how are the physics going to handle that? The other half was super-excited about that and people started to laugh about it. So that's what I mean by the game designed itself. It's like a painting where you know where you're going more or less, but not exactly, and as you're painting and you realize that the blue of the sky over there should actually reflect on that corner over there. And so at the end the painting becomes really defined as you go.

So how do you balance the needs of that creative process with the demands of operating a business?

I think if you look at the leader, you will know what is the culture of the company. In our case it started with game design, game designers, so our very first game [Arx Fatalis] is very game design-oriented. Not very technological. It crashes all the time, is not very production-ready and full of bugs.

I remember thinking it was very neat, though, with stuff like the gesture commands for casting spells.

Right, right. It's neat, but it was not very marketable. It was not ready for the market, and I think as we grew we started to accept other disciplines a little better. So now I think we've reached a balance where we have strong production, strong art, strong tech, while at the same time still maintaining the strong design.

I still think design will always win at the end of the day if there's a conflict between, "Should this game be polished or should it be designed?" I'll still push for the fun thing, rather than the polish. And maybe it's a mistake. It did bite me in the ass a few times, but at some point as you grow you have to...well, now we are also part of Bethesda. So there's a lot of money involved in these games. We cannot just make games in a vacuum and not care about it. So I had to give more and more power to production and et cetera. But unfortunately for everyone I am also the president of the company, so.....

It's tricky. It means that I will always have a personal push for creativity over any of the other disciplines. But I also try to be mindful about it and not run the company against the wall.

I think a lot of devs face the same problem. I should ask also, I notice it's not the same engine as Dishonored 2. You went with CryEngine, right?

Yeah.

Why choose to go with someone else's engine rather than something you build yourself?

Because in fact, when you look back to when we started Dishonored 2, which was a little before we started Prey, actually, we were faced with a few challenges. In the case of Dishonored, our biggest challenge was to make the technology work. Because we knew what game we were going to do, but we did not have an engine for it. Back then the CryTek engine was not ready.

So we said, okay, this is our try is going to be to make our own engine. Because we know what the game is and and we have to make a new team. So that was enough challenge already.

And then you look at Prey, we were not wanting to add some more burden on the Dishonored 2 team because Dishonored 2, we had to to make our own engine there. Now with the same engine if you have to make two games, that would be multiplying the challenges. So [for Prey], the challenge was more like, let's take an engine that we know exists and is solid that we have and tackle a new challenge which is inventing a game.

It's essentially a new type of game, even though it's Prey, it's still a new IP in a way. So it's just risk management, and choosing the right thing. So, you know I was saying your company culture informs how you work, like in my case it's all creative, but at the same time, in this case it was a lot of production calls. We have to be logical.

Yeah, but I do think it's surprising you'd want to avoid having everyone working on the same tech. Whereas I feel an organization like EA, which is obviously much bigger, they're making an effort to bring all of their stuff into one engine.

Yeah, I'm not sure why because it's only a million dollars for those -- It's nothing secret here. The cost of an engine is about a million dollars. Any engine that you can buy and I honestly can't remember how much we payed on the case of CryTek, but it doesn't justify -- It's not a big win to say, "Well, we're going to unify all our games onto one engine." It seems more risky and more of a constraint for teams.

In fact, the entire Bethesda organization, everytime we try starting a game, they never care. They always ask us, "What engine do you want to use?" It doesn't matter if we want to use our engine, some new engine. It's a cost. If you make your own engine it's going to cost you something. If you buy one it's going to cost you something. There is a cost -- I can understand why some people want to unify everything because this way they can have their teams that know how to use their tools. Once you know the production pipeline of an engine you can reuse that for every time. So there is some sort of a save.

But at the end of the day there are so many constraints as well to use -- I know a publisher that now went under who were obsessed with using the unified engine across all their teams all their studios all over the world. It drove them to their death, because it's more constraint on the developers than there is any benefit.

I honestly think it's an ideology and it's a political idea that sounds beautiful. "Well, we'll put our efforts combined into one thing. Then we can share technology between studios." It sounds beautiful, but it never works.

So let's talk about beauty, for a sec. What is one thing you hope fellow game developers see in this game? Is there a certain level, or a mechanic, or a little production trick you did somewhere?

Well, your question has multiple facets to it. One could be, "What is it that they will praise us for?" The other one would be, "What there is that hopefully will inspire them?" So the inspiring thing -- As a player, I want to play more games that are real-life simulations and let me play the way I want and give me an experience that I feel I own, as opposed to something very directed. There are some games that do that, but there's also a lot of games that go somewhere else.

So I want to see more and more games that allow me -- Because that's the difference between a movie and a game, I think. So the more games that are simulations, the more fun it is to me. So I hope some future generations are going to go deeper in that genre. As far as the thing I hope people recognize, I think it's the complexity of making a new world. Everything is designed in this world. The chairs, the tables, everything is designed -- The fashion. So I'm sure the artists and storytellers will have a chance to appreciate the amount of work that was put into the researching the background of the world and how it works.

Yeah, you had the idea for this long before you decided to use the Prey name, right? Do you remember any of the names you were originally going to use?

There were many and I think one of them was after the name of the alien race themselves, which is the "Typhon." So then we started to think, "Hold on, people aren't going to know if it's with an i, a y, is it ph, is it f?" So at the end of the day Prey was actually a pretty solid name.

Yeah, it's easy to spell, short. So if you had to give one piece of advice to fellow game developers, given your time in the industry, what would you say now?

You know, I think we're at a fascinating phase because there's way many more propositions than there ever was before. Now you can play mobile, different types of formats of games, like the indie games for $20 or the AAA for more. I think it's a great time to succeed. Better than when there was only one channel.

Now, there's more noise as well so it's hard to get through this noise. And also the other thing that I notice is that people give less importance to how amazing is your graphics. That I think is a great, great opportunity for developers to focus on their message, whether it's artistic message or gameplay message, rather than the form so much. Because we've been so blinded by trying to get the latest technology, the latest shader, the latest detail that costs a fortune. It's a big distraction from what really matters in the game. So I hope people focus on the art intentions and the gameplay intentions more than the technology, and how amazing the graphics are.

 

[LESS T_T]

Oh, press blitz.







"Prey: hands-on with Arkane’s shapeshifting shooter"
https://www.rockpapershotgun.com/2017/02/15/prey-hands-on-first-hour/

"Hands-on with Prey: System Shock's spirit lives in this ambitious reboot"
http://www.pcworld.com/article/3170...ks-spirit-lives-in-this-ambitious-reboot.html

"An hour with Prey"
http://www.polygon.com/2017/2/15/14621600/prey-arkane-bethesda-system-shock-preview-first-hour

"Hands-on with Prey's opening hour: Arkane put sci-fi horror at centre stage"
https://www.pcgamesn.com/prey/prey-pc-gameplay-preview

"Prey: Nothing like the original—and all the better for it"
https://arstechnica.co.uk/gaming/2017/02/prey-hands-on-preview-impressions/

"Bethesda's 'Prey' reboot makes you fear everything"
https://www.engadget.com/2017/02/15/prey-2017-hands-on-preview/

And more and more...

 

[vortex]

 

[Killzig]

Art style looks nice, but the environments all look like boring shit. Office building, hotel lobby, swimming pool at the gym, airport terminal. And what is with this enemy?

What is the point of the chair transformation? Didn't the XCOM shooter get laughed out of existence for having black blob enemies?

 

[Morgoth]

Sheeeeeeeet.

 

[commie]

Art style looks nice, but the environments all look like boring shit. Office building, hotel lobby, swimming pool at the gym, airport terminal.?

Well F.E.A.R. had the same 5 enemies in the same office rooms for 8 hours, going up and down the same building and yet it's regarded on the Codex by many as a masterpiece.

 

[Latelistener]

What is the point of the chair transformation? Didn't the XCOM shooter get laughed out of existence for having black blob enemies?

I knew something like this will happen. It wasn't suppose to ignore the player, but it does, prioritizing the transformation.

 

[sullynathan]

Even more videos

 

[Ivan]

 

[Morgoth]

So now I've watched a bit of that 1 hour video and I must admit this looks a little bit like a let-down, at least compared to Arkane's previous work.

Spraying foam on quadpod turds and then whacking them with a wrench isn't exactly my idea of fun combat, but lets see. It's only early in the game so who knows how it will open up.

 

[insukk]

Polish site CD-Action posted PC requirements. I don't know what is the source of this information because i could not find anything in the English Internet, but whatever.

Minimal:

• Windows 7 (64-bit) or newer
• Core i5-2400 3,1 GHz or MD FX-8320
• GeForce GTX 670 2 GB or Radeon HD 7870 2 GB
• RAM: 8 GB
• Drive space: 55 GB

Recommended:

• Windows 7 (64-bit) or newer
• Core i7-3770 4-Core 3,4 GHz or AMD FX-8350
• GeForce GTX 970 4 GB or Radeon R9 290 4 GB
• RAM: 8 GB
• Drive space: 55 GB

 

[Ash]

So now I've watched a bit of that 1 hour video and I must admit this looks a little bit like a let-down, at least compared to Arkane's previous work.

Such as the Codex-approved bar raising casualtard masterpiece Dishonored, and not that clunky, shit dated game Arx Fatalis.

Art style looks nice, but the environments all look like boring shit. Office building, hotel lobby, swimming pool at the gym, airport terminal.?

Well F.E.A.R. had the same 5 enemies in the same office rooms for 8 hours, going up and down the same building and yet it's regarded on the Codex by many as a masterpiece.

 

[LESS T_T]

The first hour doesn't look like a good representation of things they've boasted about (all that simulations, character progression, open exploration, etc.). Well, tutorial and introduction all that. And I don't like console-y, streamlined interactions (well, it's not like I expected otherwise in that front).

It's funny they somewhat bent the 451 tradition. I guess it's more true to its origin (keycode to real-life Looking Glass office).

 

[Durandal]

So now I've watched a bit of that 1 hour video and I must admit this looks a little bit like a let-down, at least compared to Arkane's previous work.

Such as the Codex-approved bar raising casualtard masterpiece Dishonored, and not that clunky, shit dated game Arx Fatalis.

I'm playing through it right now, and it is clunky
the melee combat is ripped straight from UU with some fancy-at-the-time first-person melee animations, but it's as simple whackamole as one can get with equally simple enemies
with magic I've found that fireballs kill humans instantly and any humans around them because you suffer no splash damage, while Ylsides simply die with two fireballs
I have no idea whether mages are blatantly OP in this game. I've only reached the snakegirl temple and I already found all runes except two according to the empty amount of spaces, I have spells for FUCKING EVERYTHING, I have spells for killing shit around me and killing shit around me harder, I have spells to quickly heal myself and paralyze enemies, and so fucking on. And alchemy materials are so plentiful anyways that I can have several stacks of mana, healing, antidote, and invisibility potions. On top of that I'm fucking loaded with cash after I pawned off the Ylsid gear amongst other things, and I don't even know if I reached the halfway point of the game
there's the limitation of being able to pre-cast three spells which isn't too much of a problem as long as all enemies die within the first three fireballs given their massive AoE, but then it's back to running around waving your fingers in the air like a moron as you're trying to precast a fireball spell but you fuck up the last rune with a similar one all the time
aside from that why would you ever play anything else, being a walking swiss knife in this kind of game beats being a generic warrior or flat-out useless thief

the combat so far is pretty much a joke, doesn't seem like it'll get any better either. I'd say at least Prey looks more interesting in this regard because it seems like things can actually kill you there and spamming fireballs doesn't seem to be a dominant strategy that makes your massive look of spells look useless in comparison
the challenge in AF mostly come from its puzzles, though unfortunately most of them are item-oriented (find x and place it in y) rather than allowing you to use your powers in creative ways, and when the opportunity does arise it ends up being more of a shortcut than anything. For example I could cross the lava moats in the crypt by either casting a fire protection spell to walk through the lava, a levitation spell to fly over the lava, or just walk around and hit the switch to close the trap at the other lava moat. Not particularly options that would make one go 'oh man, I'm such a fucking genius'. That's a problem which most immersive sims like Dishonored have where you got all this cool shit to play around with but none of the enemies are threatening enough to force you to use them creatively if you wanna live, so you just use them out of boredom and shits 'n giggles. Though certain dominant strategies could arise in Deus Ex, the level of challenge was much higher and forced you to change up strategies once you realized things like robots and environmental damage couldn't be headshotted across the map with your silenced pistol w/ red dot

the game's alright so far, I like the setting and exploration, though they give you way too much inventory space to the point of triggering an inner hoarding compulsion, my room in the castle looks like a fucking mess riddled with shit I'll never use
also when I casted a fire wall spell and threw a raw fish in it, the fish didn't even cook. Emergent gameplay my ass

 

[Tehdagah]

Game looks way better than RE7.

 

[Ash]

That's a problem which most immersive sims like Dishonored have where you got all this cool shit to play around with but none of the enemies are threatening enough to force you to use them creatively if you wanna live, so you just use them out of boredom and shits 'n giggles.

Mostly only a nagging problem in the new gen banal boring ones.

Though certain dominant strategies could arise in Deus Ex, the level of challenge was much higher and forced you to change up strategies once you realized things like robots and environmental damage couldn't be headshotted across the map with your silenced pistol w/ red dot

Vanilla Deus Ex harder than Arx? Surely you jest...

As for the criticisms regarding too much inventory space, overpowered mage build, simplistic combat...all these are valid. There's many other issues too, and indeed there are clunky aspects (jumping), but all in all it's fantastic, innovative, engaging, and has this special unique charm and atmosphere not seen in any other, including the game it draws inspiration from.
It's certainly a game that didn't meet its full potential but it was so damn promising for Arkane's first game, and now they are producing bland casual blink-choke simulators.
It's a shame their commendable efforts to live up to the legendary Ultima Underworld went underappreciated at large while their compromised popamole is showered with praise and success. Biggest problem is most gamers simply haven't played Arx though, because it didn't have Bethesda marketing guaranteeing its success.
This is why we/I can't have nice things. One isn't terribly far off my ideal game, the other has little of note going for it in comparison, as far as I am concerned.

 

[evdk]

The mage being overpowered was generally balanced by my absolute inability to draw any runes in combat.

 

[Alienman]

Cool battle music, but otherwise very mediocre. Fighting oil things, meh.

 

[MuscleSpark]

Okay, so I've watched about 7-8 hours of this game now, from "this game so scary I drop controller" (Eurogamer, Outside Xbox) to "how do play gaems" (RPS, Polygon) to "HAHA I'M SO OBNOXIOUS I TALK GARBAGE CONSTANTLY" (GameRiot). Destructoid played reasonably well thankfully.
I haven't gone through the B-tier YouTubers yet but I'm getting there starting Yogscast Hannah and making my way down to Kinda Funny.

All that aside, the game looks fun when you reach the lobby and the map opens up. I still don't know if the direction of the wrench hit depends on your movement, but I know you can charge it up for more damage which is brilliant. Also watching all this fucking footage really shows how you can traverse around into different areas in any order and the many ways of getting there.

Spoiler

Like using the GLOO gun to get to Yu's office through the atrium, breaking the window. Oh and there's apparently a whole hidden area behind the movie screen if you break the glass with the wrench.

Looks a bit easy, but everyone playing the game is mediocre and playing it on normal, which is the version made for the casuals who aren't completely retarded.

 

[Durandal]

I know you can charge it up for more damage which is brilliant

LOL
LOOOOOOOOL

 

[MuscleSpark]

I know you can charge it up for more damage which is brilliant

LOL
LOOOOOOOOL

I just want to feel like I'm playing Arx Fatalis again

 

[EnthalpyFlow]

Okay, so I've watched about 7-8 hours of this game now, from "this game so scary I drop controller" (Eurogamer, Outside Xbox) to "how do play gaems" (RPS, Polygon) to "HAHA I'M SO OBNOXIOUS I TALK GARBAGE CONSTANTLY" (GameRiot). Destructoid played reasonably well thankfully.
I haven't gone through the B-tier YouTubers yet but I'm getting there starting Yogscast Hannah and making my way down to Kinda Funny.

All that aside, the game looks fun when you reach the lobby and the map opens up. I still don't know if the direction of the wrench hit depends on your movement, but I know you can charge it up for more damage which is brilliant. Also watching all this fucking footage really shows how you can traverse around into different areas in any order and the many ways of getting there.

Spoiler

Like using the GLOO gun to get to Yu's office through the atrium, breaking the window. Oh and there's apparently a whole hidden area behind the movie screen if you break the glass with the wrench.

Looks a bit easy, but everyone playing the game is mediocre and playing it on normal, which is the version made for the casuals who aren't completely retarded.

Game looks pretty interesting, though. It only shares the name with its antecesor and I don't know if someone else happens to think this, but the aliens remind me so much of those from the first person version of XCOM: The Bureau, that also were shapeshifters and left black ooze all around.

 

[Alienman]

Well those guys understood that fighting black goo would get boring after the first kill and changed it to things that bleed.

 

[ArchAngel]

Polish site CD-Action posted PC requirements. I don't know what is the source of this information because i could not find anything in the English Internet, but whatever.

Minimal:

• Windows 7 (64-bit) or newer
• Core i5-2400 3,1 GHz or MD FX-8320
• GeForce GTX 670 2 GB or Radeon HD 7870 2 GB
• RAM: 8 GB
• Drive space: 55 GB

Recommended:

• Windows 7 (64-bit) or newer
• Core i7-3770 4-Core 3,4 GHz or AMD FX-8350
• GeForce GTX 970 4 GB or Radeon R9 290 4 GB
• RAM: 8 GB
• Drive space: 55 GB

WTF? Nobody got time and enough HDD space to even pirate that shit.
I guess I need to get better internet and invest into another 1-2 TB HDD