Dragon’s Dogma 2 – How To Complete Till Death Do Us Part
Some quests in Dragon’s Dogma 2 take you to far-flung regions. Still, there’s one in particular that leads you to an area that’s crawling with the undead. Our guide discusses how to complete Till Death Do Us Part in Dragon’s Dogma 2. Likewise, please be reminded that this article contains minor spoilers.
How to complete Till Death Do Us Part in Dragon’s Dogma 2
Till Death Do Us Part is a side quest that comes from an NPC in the capital city of Vernworth. First, you’ll have to talk to an NPC named Oswald, who usually strolls around near the fountain. He’ll tell you about a tyrannical fella named Ser Ludolph.
Next, speak with a woman named Margit, who’s in front of the Watchhead’s Home. Don’t worry–she’s not the Margit that you’re thinking of, so no “fell omen” would occur.
Margit claims that Ser Ludolph has been visiting her home often since her husband, Ser Gregor, was tasked to go to the Illdoers’ Resting Place. She then realizes Ludolph’s nefarious plot and implores you to save her husband.
How to go to the Misty Marshes
To complete the Dragon’s Dogma 2 Till Death Do Us Part quest, you must go to the Misty Marshes. There are three ways to get there.
From Harve Village: If you’ve only been exploring the northern part of the world map, you can follow the roads that lead north of Harve Village. Then, go across the stone bridge to the west. A narrow path takes you to a section that’s shrouded in a dark fog.
From Checkpoint Rest Town/Ancient Battleground: The second method has you following the path east of the Ancient Battleground (which is also close to where you meet the Sphinx). The gate that leads north is barred, but you can climb on rock formations or the Cenotaph’s ramparts to bypass it. You should be able to destroy the wooden plank to unlock the gate once you’re behind it.
From the Sphinx Mountain Shrine: The third option is for those who are already tackling the Sphinx’s riddles at the Mountain Shrine (note that you should have a Portcrystal placed at the Mountain Shrine for fast travel purposes). Turn around at the steps and you should see a campsite. From that spot, there’s a narrow pass that takes you to an abandoned village close to the Illdoers’ Resting Place.
Exploring the Misty Marshes to reach the Illdoers’ Resting Place
If you picked the first two options, you’ll find yourself in a wide area that’s completely covered in fog. Not only is visibility low, but you’ll also have to contend with Bandits, Skeleton Warriors, Zombies, and Phantoms–yes, the undead will spawn regardless of the time of day. The minimap also won’t show you the roads, so you’ll need to rely on torches/braziers to light the way.
Your goal is to reach the abandoned village, which has a campsite and a Riftstone. If you look slightly to the east, you should see a small island in the middle of the lake. There, you’ll find Ser Gregor and his troops battling a creature known as the Dullahan, also known as the Headless Horseman.
Note: If you follow the braziers going to the south, you’ll eventually reach a Griffin’s nest. Defeat the beast and pick up an extremely rare reusable Portcrystal.
How to defeat the Dullahan and rescue Ser Gregor
The Dragon’s Dogma 2 Dullahan is a monster boss, and it’s also fairly rare. In fact, the creature you face as part of this quest is the only one we encountered in our playthrough.
The Dullahan uses its scythe to carve up foes. Moreover, its disembodied head can call on lost souls that fly toward its opponents. Likewise, it can “Force Choke” characters, then toss them away like nothing. It even teleports periodically.
Perhaps the most dangerous aspect of this battle is that Ser Gregor can die permanently. This occurs if the Dullahan does any of its knockback attacks and Ser Gregor is thrown into the lake. The quest log will even tell you that you failed to save him. As such, we suggest battling the Dullahan close to the center of the island. If it goes near the lake, you might want to pick up and carry Gregor away from it just to be safe.
In any case, there are two ways to successfully complete the Dragon’s Dogma 2 Till Death Do Us Part quest:
- Make the Dullahan teleport away – If the Dullahan has taken enough damage, it will enrage. Its spectral head will attach to its body, and it will periodically shriek and cause characters to collapse. If you’re unable to deal a lot of damage to it within a minute or so, it will teleport and escape.
- Defeat the Dullahan – Of course, if you can manage to defeat it, then it will drop 300 RC, as well as several Cursed Dullahan Bone materials. You’ll also receive the “Before Dawn Breaks” achievement.
Till Death Do Us Part rewards
Regardless of what happens to the Dullahan, you should return to Margit in Vernworth. If you managed to save Ser Gregor, you’ll receive 2,800 XP, 5,000 gold, the Steeled Virtue (sword), and the Lustrous Targe (shield). Likewise, you’ll learn of how Ser Ludolph met a fitting end.
However, if Ser Gregor perished in the battle, you won’t receive the Lustrous Targe at all, and Margit will feel distraught at her husband’s death.
In any case, this is everything you need to know about the Dragon’s Dogma 2 Till Death Do Us Part quest and Dullahan boss fight. To learn about other terrifying foes, you can check our monster bosses guide.
Fierce foes and loyal companions await you as you journey onward in Dragon’s Dogma 2. For other tips and strategies, you can visit our guides hub.
Scream 6 Directors Say Leaving Franchise Wasn’t Their Choice
It’s been a season of turmoil for the Scream franchise. Earlier this month, Neve Campbell confirmed that she will star in Scream 7, which will be directed by Kevin Williamson, the screenwriter who created the franchise and produced the six previous films. That followed the news that director Christopher Landon left Scream 7 in December after his star, Melissa Barrera, was fired from the franchise in November. And it turns out that Matt Bettinelli-Olpin and Tyler Gillett–who collectively go by Radio Silence–were also forced to step down as directors of the franchise’s next chapter.
While speaking to The Hollywood Reporter, Radio Silence said that their intention was to finish a trilogy of Scream movies featuring Barrera and Jenna Ortega’s Sam and Tara Carpenter. However, Spyglass’ demanding schedule for Scream 7 ultimately meant that they couldn’t helm their new horror movie, Abigail, and close out their third film in the franchise.
“We got exited,” noted Gillett. “We’ll be sad that there’s not going to be an end to the Sam Carpenter story, but in our minds, we designed Scream VI so that the story feels complete,” added Bettinelli-Olpin.
Barrera’s exit from the franchise came over her posts on social media about the war in Gaza, which Spyglass characterized as antisemitic. Shortly thereafter, it was announced that Barrera’s co-star, Ortega, had already left Scream 7 over filming conflicts with Wednesday Season 2. Barrera is starring in Abigail, which will hit theaters next month. And she isn’t entirely ruling out a return to the Scream franchise down the line.
“I’ve learned to never say never, but also a lot of things would have to happen for Sam to come back,” said Barrera. “For now, next page, next chapter, and then we’ll see what the future holds.”
Helldivers 2 Just Got Two New Stratagems, And One Is A Giant Laser Cannon
Helldivers 2 just received two new stratagems for players to employ against the enemies of managed democracy, and they look to pack quite a punch.
The two stratagems are support weapons: the MG-101 Heavy Machine Gun and the LAS-99 Quasar Cannon. Both weapons have a three-second call-in time by default and a 480-second cooldown timer on call-ins, but can technically be called into battle as many times during a mission as needed (as long as they aren’t on cooldown). The Heavy Machine Gun costs 6,000 Requisition to unlock while the Quasar Cannon costs 7,500.
Helldivers, support has arrived! The LAS-99 Quasar Cannon and the MG-101 Heavy Machine Gun are available now for use against the Automaton horde. pic.twitter.com/EZSzXJWSPn
— HELLDIVERS™ 2 (@helldivers2) March 28, 2024
In-game, the MG-101 Heavy Machine Gun is described as a “very powerful but difficult-to-wield” weapon, and joins the ranks of two other similar weapons, the Machine Gun and the Stalwart. It’s the Quasar Cannon that definitely looks to be the more interesting of the two, as it’s a massive shoulder-mounted weapon that after a charge-up time “fires a powerful, explosive energy burst” but features a long cooldown before it can be fired again. The Quasar Cannon looks to be particularly useful against the heavily armored Automatons, and is even capable of shooting Automaton dropships out of the sky.
Developer Arrowhead Studios has continued to keep Helldivers 2 fresh with the introduction of new Major Orders, Stratagems, and weapons following the game’s launch in early February 2024. Players recently unlocked pilotable mechs after liberating important factories from the Automaton threat, and some players are convinced that the arrival of a third enemy faction is imminent. Arrowhead recently introduced the new Cutting Edge Warbond (battle pass) to the game, which features new weapons, armor, and cosmetics for players to earn.
Helldivers 2 was the best-selling game of February in the US, dethroning Call of Duty Modern Warfare 3, according to Circana. It has continually been among the top-selling and top-played games on Steam since launch, making it the biggest launch ever for a Sony-published game on PC. In GameSpot’s Helldivers 2 review, we said Arrowhead’s shooter manages to carve out a space for itself in a crowded live-service landscape thanks to its “fun narrative tone, punchy combat, intense firefights, and rewarding progression track,” calling it “just a really good time.”
One Of The Texas Chain Saw Massacre’s Scariest Parts Is Easily Overlooked
In my The Texas Chain Saw Massacre review, I called it one of the scariest games I’ve ever played. I’ve since put over 100 hours into the game, and that remains true to this day. A horror game can rarely be affecting for that long. Usually, exposure should desensitize you to even the genre’s all-time greats. But the unpredictable nature of the PvP game makes each round feel like a new horror story unfolding around me.
Beyond the famous family and their taunting dialogue, the maps arranged like dizzying death traps, and the final girl (or guy) music that pulsates like an encroaching cacophony of violence, there’s another layer that adds to the haunting atmosphere of the game–but it’s easily missed. At the start of each round, brief excerpts of radio broadcasts can be heard. These range from seemingly innocuous baseball recaps to reports of murder and mayhem alluding to the game’s playable cabal of killers. GameSpot recently spoke to Gun Media creative director Ronnie Hobbs about why and how the Texas Chain Saw Massacre news feed came to be, and how giving the game a sense of place creates a terrifying reality for the players.
“I think there was one point in development where we wanted the initial radio broadcast, the one talking about Maria Flores, to play. So for a while, that’s the only one we had.” Hobbs told me. “It talks about her disappearance, just to set the tone for the match as you load in. And even though you only hear like 10 seconds of it, it grounded the game in reality. And then when we heard it, we were like, ‘Wow, okay, this is actually really cool.’ And we’re like, ‘This is so cool that we should fill it in with other things.’ We just didn’t know what those were. So that was really how it got started. Myself and my assistant, Rob Fox, wrote these. Once we figured out that we wanted more of those, he and I started down the journey of doing that.”
Hobbs said the team, and even he alone at times, went to Texas while doing research for the game, visiting “100 different small towns” and sleeping in his SUV to get a better sense of the setting. The team would stumble upon odd shops selling artwork for thousands of dollars in the middle of the desert, talk their way into a mill for a tour–which would go on to inspire today’s new map in the game–and chat with locals to learn the backstories of these places that aren’t often notable enough to appear on maps. Many of these encounters inspired broadcasts in the game, like one that speaks of the Marfa Ghost Lights in Marfa, Texas, a decades-old phenomenon that some locals attribute to aliens.
Since I’ve played so much TCM, I’ve become familiar with many of the broadcasts, and I’ve loved how they come in a few flavors. There are 29 news report broadcasts in the game according to the full list Hobbs provided me, each of them delivered in an authentic Kronkite-like style that suits the game’s 1970s setting. While some hint at other unseen crimes of the family–Hobbs confirmed with me that Sissy is the “Terror of I-40” you can hear about at the start of some rounds–others feel so out of place that it’s their juxtaposition that winds up being most haunting.
A round of TCM can be nauseatingly scary when you’re facing an adept group of killers. To sit through the introduction of a match featuring the grotesque kill room and other torturous setups to the tune of the Texas Rangers’ roster acquisitions has the unexpected effect of making it all worse. There’s a world beyond the oppressive maps on which the game is played, and sometimes it’s the blissful ignorance of that world that haunts me–how can they be playing baseball right now? Don’t they know I’m running for my life?
Other times, it’s a more direct and obvious scare that colors in the world. In my opinion, the most unsettling of all the two-dozen-plus radio broadcasts relates to the scene of a gruesome cult suicide: 13 men dressed in matching plain white clothes ingested potassium cyanide and died sitting in chairs scattered around a ranch, each of them holding bibles and wearing sunglasses. It recalls infamous scenes like Jonestown or Heaven’s Gate and reminds me that, though The Texas Chain Saw Massacre is only very loosely based on a true story, its depictions of senseless violence really do occur in our world, too.
That was a major point of the original movie; it was a response to the violence of the Vietnam War. While real-life news networks shied away from reporting on the war’s casualties, the film’s creators dared people to stare directly into their inescapably dark reality and not blink. 50 years later, the game has captured this same effect. It creates a genuinely guttural sense of unease for the duration of every round as a way to authentically portray the movie in video game form.
These radio broadcasts could’ve just as easily not been in the game at all, and it probably still would’ve worked. The team sweat the small stuff and remade the house, the chainsaw, and the family in a way that winds up seeming like a museum to the film. But by adding layers to that world, like the news feed does so well, we sink even farther into the hellscape.
“All the trees, the grass, the rocks, the dirt–every single thing you see, you know–all the rusted metal. That’s all from Texas. So when you play our game, it feels like you’re actually there. So we went with that angle, as opposed to just making sure the house was right. We created the whole world from Texas. And I think that gives it a sense of uniqueness that not a lot of games can say they did or they have. So that just keeps trickling down, you know, down to, ‘Okay, yeah, that is the right chair, or that’s the right wallpaper, or these characters are really wearing the right clothes from 1972 or 71. Or they have backstories that link them to real schools or real colleges or real towns.’ That was very important to us. If you know Texas, you know these places that we’re talking about; they really exist. And then we carry that down to the radio broadcasts.”
The finishing touch to these news reports is how you’re not likely to hear the whole thing in any round. A match begins, and as the team of victims, you’re introduced to the map and the selected killers so you can begin to plot your escape before both teams are handed control of their characters. All the while, you hear a news report, but it’s bound to be cut off before you can hear the whole story. This has a classic horror-movie effect that instinctively asks the player to fill in the details, like a restless child making monsters out of shapes in their closet. It all feels so cohesive as a feature, and yet, so optional that Hobbs wasn’t ever sure anyone was paying attention to them.
“It’s fun to talk about it because I still go, ‘Man, is anyone actually hearing these? Do they appreciate it?’ wondered Hobbs. “And then every now and then I run into people who know them all, and they send me questions like, “What about here? It cut me off! What’s the whole story?'”
As mentioned, sometimes these broadcasts allude to the game’s killers, but importantly, not always, even when wicked things are being reported. It’s important to the world-building that some of the game’s news reports are unrelated to the Sawyer family, or else you could wind up creating something like an Evil Forest Gump who happened to be present for every grisly event in Texas at the time. Still, I wondered if players might spot any references to killers yet to arrive in the game.
“They’re all there for a reason. Very, very few of them are just there because we liked the way they sounded,” Hobbs teased. “I’ll leave it at that. None of them are there by accident.”
The Texas Chain Saw Massacre is available on PC, Xbox Series X|S, PS5, Xbox One, and PS4. It’s also available via Xbox Game Pass. Today, the game received a new update that adds the latest map, The Mill, alongside a new playable victim portrayed by horror legend Barbara Crampton.
Fallout-Themed Arizona Green Tea Variety Pack Is Back In Stock
Society is done for, mutants roam the wasteland, and those snobs in the Vaults won’t let you inside. What’s a survivor of mutually assured destruction supposed to do? Sit down and enjoy a spot of tea, that’s what. Specifically, an ice-cold can of Fallout-themed Arizona Tea, as the beverage is getting a Fallout makeover, just in time for the April launch of the Fallout TV series on Prime Video. These special-edition Arizona green tea energy drinks have been going in and out of stock, and wait times are lengthy for some of the packs. As such, you may want to order soon, because interest will likely increase once the show debuts on April 11.
Currently, you can stock up your doomsday shelter with several varieties, all available in convenient 12-packs. These are 22-ounce cans, and each flavor has a green tea base. You can choose between Pomegranate, Georgia Peach, and Red Apple. Each serving contains some real juice, around 100 calories, and 234mg of caffeine. If you’re wanting to mix and match, the variety pack comes with four of each flavor.
If you’re planning to explore your local post-apocalyptic environment, you can also pick up an official Fallout tumbler to keep your drink cold or hot. These are made from stainless steel, are BPA free, and have a leak-proof lid with a clear slider. If you prefer coffee to iced tea, Fallout coffee beans are also available to help you kickstart your day. Made by Bones Coffee Company, each bag features a metal design on the packaging, and the beans are available in multiple flavors, including Valiant Vanilla, Atomic Apple, and Wasteland Crunch.
For some more Fallout merch, there’s a lot on offer right now. Fans of collectible toys can pick up this impressive Brotherhood of Steel figure from ThreeZero–decked out in some pretty sweet Nuka Cola armor–McFarlane Toys is doing a limited run of collectibles for $25 each and a new set of Fallout: The Series mini figures will be available starting April 19.
Pepper Grinder Review – Short And Spicy
It only takes a glance to understand Pepper Grinder’s inventive gimmick. A small girl named Pepper–a pirate by trade–wields a drill named Grinder that’s roughly the size of her entire body. The gear allows her to grind through soft surfaces with ease, complete with the ability to launch out of the surface with a leap. That might have been enough to carry the game by itself, but what’s most surprising about Pepper Grinder is its sheer variety. Though it’s short, that brevity helps to make the campaign a no-filler thrill ride that continuously pushes the boundaries of its central mechanic.
It turns out Grinder is a pretty versatile tool, even regarding its most basic function. You can burrow through the ground, which immediately feels natural and smooth. At the same time, you can’t simply turn on a dime with an instant about-face like a typical platformer–you have to handle turns by curving an arc out of your drilling path. Additionally, when you pop out of the surface of the dirt, you won’t gain much distance unless you jump just before breaking through. Those little touches give the core mechanic a sense of finesse, imitating the feeling of a playful dolphin–or at least, a dolphin video game like the classic Ecco.
Once you get the hang of it, drilling through soil and leaping out of the surface in a perfect arc, only to catch another piece of soft ground in the distance and continue your digging, feels thrilling and acrobatic. The drillable surfaces are nicely differentiated from hard environmental pieces, so you quickly learn to read a level and see the path through it, evoking a feeling similar to performing a great run in Tony Hawk. Collectibles like gems are scattered strategically throughout the stages to both subtly guide your eye along the path, while also sometimes setting traps for your greed.
Aside from being a traversal tool, Grinder is also your primary and often only weapon. It’s not enough to simply run into most enemies with a spinning drill, though–they often have their own specific approach to defeat them, like beetles with a hard upper carapace who need to be stabbed from the underside by burrowing underground. The main enemies, a breed of vicious narwhal-like creatures with horns on their head, are just as capable of hurting you with a head-on collision as you are of hurting them. None of the regular enemies are terribly tough by themselves, but they introduce new ways of approaching stages and obstacles as you need to get around them or through them to continue on your path.
A platformer with a standout hook like this one probably could have coasted on it, but Pepper Grinder doesn’t rest on its laurels. Instead, it consistently introduces new elements to master. These either integrate with your balletic burrowing or provide a change of pace from it. Grabbing a key with your drill will make it turn a lock, and you can use the kinetic energy to power machines. You’ll also shoot from cannons, drill holes into the bottoms of ships to make them take on water, carve through skyscrapers to make them collapse as you traverse through, and even pilot a giant mech. What appears at first to be a simple tool gives way to constant delightful little surprises.
A series of boss battles ramp up the difficulty nicely, taking the skills you’ve learned and putting them to the test. The first is relatively straightforward, as you dodge projectiles by moving through the soil and wait for the opportune moment to attack from the underside, while the second severely limits the amount of soft ground available and challenges you to leap high into the air to do damage. They progress from there, including one tough encounter with another human-like character that has roughly your size and agility. All this leads to a final boss encounter that is one of the most tense and difficult retro platformer bosses I’ve seen in a long time, which felt satisfying to overcome.
And on top of all this, Pepper Grinder carries itself with a cute, pixel-punk personality. Pepper’s diminutive sprite artwork has a charm to it, like how she revs up her trusty drill threateningly when coming face-to-face with a boss, or how she raises her pirate flag to declare victory in an area. The enemies can sometimes be seen doing their own pirate duties before you crash their party. And though story sequences are few and far between, they were just enough to explain what was going on with mimed, dialogue-free action. A short story sequence just before the final boss even made me laugh out loud.
At such a breakneck pace of new ideas, Pepper Grinder doesn’t last very long, which is to its credit. I finished the campaign in roughly four hours, which is a relatively short playtime. Every stage also has a time-trial option, and there are still collectibles and cosmetics to unlock like stickers and hairstyles. The most important collectibles are Skull Coins, a limited resource–five per stage–that can be used to unlock special bonus stages in each of the four worlds. These are used to further explore gameplay concepts that had been introduced in the main stages. The first one, for example, takes the cannon mechanic to its logical conclusion with an entire stage built around ping-ponging from cannon to cannon, which felt pleasanlty reminiscent of Donkey Kong Country’s famous barrel stages.
Perhaps because of its brevity, I enjoyed every minute, and I appreciate the rare instance of a game that doesn’t overstay its welcome. Rather than slog through filler stages to pad its length, Pepper Grinder is bursting with new ideas for exactly as long as it can sustain that momentum. There’s something admirable about approaching its length with that level of confidence. I would have loved to play even more, if it could have sustained that pace, but this felt like a conscious choice to let the best ideas shine.
Pepper Grinder is here for a good time, not for a long time. Every piece, from the core drilling mechanic itself to the various ways it manifests with cannons and mechs and more, feels meticulously engineered to teach you a new concept, wring the fun out of it, and then move on to the next. That sense of propulsion makes every moment fun and engaging. It’s a great little gem of a game which, like its heroine, may be small in size but makes every bit count.