Yeah, that’s
right. I’ll say it again, just to make
sure I’m getting my point across. In
spite of everything I’m about to say, and in spite of all the discussion and
dissent, DmC is not a game you should get angry about. Ignoring the fact that it’s just a game (and
there are plenty of other things worth raging about in this big blue world of
ours), it’s a game that’s already been released. It’s finished. The damage has been done, and lines have been
drawn. Eventually, we’re all going to
have to get over this thing and move onto something else; it’ll leave scars, no
doubt, but even then it’s destined to become something remembered with groans and
eye rolls instead of death threats and Metacritic bombings.
But even with that in
mind -- even if the game is justifiably deserving of its hatred (because it’s a
ramshackle mess, IMO) -- it’s still not something you can stay mad at for
long. If at all. Why’s that?
Well, I’ll explain in full before this post is done. But that’s a ways away.
We have a lot of things to discuss. A whole lot.
WARNING: Spoilers to follow. And because this is the internet, I’m
required by law to awkwardly cram in a reference to “filling your dark soul
with light” somewhere into this post. So
let’s put it here and be done with it.
Also, let’s keep the comparisons to the Devil May Cry games to a minimum.
In fact, let’s just not mention them at all unless absolutely necessary.
…I miss Old Dante.
(Or: That Helm Splitter
is Something Else)
You know, for a while I
wasn’t sure how exactly I wanted to start this post. Should I just break out a list of points,
praise, and grievances, like I did with Halo
4? Or just a straight rundown, like
with Ratchet and Clank? It could go either way, even though I’m
leaning toward the former (and the story stuff is going to take a post in
itself, so look forward to that). But
there are things that I want to say immediately, so…yeah, I’ll go ahead and say
them immediately.
If you don’t have good
characters in a story, you might as well not even write one. I’m sure there are ways around that little
statement (a story with no characters that focuses on nature or something), but
it’s an idea that stands strong in the world of fiction. Doubly so if your story DOES have characters,
which it generally will. And of course,
my claim is only strengthened in regards to main characters; if your leading
man or woman isn’t even remotely close to par, in my eyes your story is an
automatic failure. No exceptions.
Maybe that’s part of
the reason why I judge DmC so harshly
-- because all of its main characters are pretty awful. Dante, Kat, Vergil, Mundus, Lilith…if they
have a name, then chances are they’ve managed to tick me off at some
point. Whether a character is good or
evil, naughty or nice, they have to have some element that makes them
compelling. If a story doesn’t have
that, the audience isn’t entertained. If
the audience isn’t entertained, their minds tend to wander -- either off-topic,
or to a point where they become resentful of the story…and because of that,
more likely to nitpick. I’d argue this
is part of what made The Avengers so
engaging; even if there were plot holes and issues (and there most certainly
were), audiences were willing to overlook it because of the sheer amount of fun
to be had, most of which came from its colorful cast. In a way, you can think of good characters as
a sort of distraction, larger-than-life collections of ideas that shine so
brightly that you’re more likely to ignore the dimmer segments of the
story. Of course, how bright the
characters are depends on them not
doing stupid things…but the general idea is there. It’s basic nature, something we all know
without someone spelling it out.
With that in mind, let
me ask a question: if DmC was a
movie, would you want to watch it?
I sure as hell
wouldn’t, for a LOT of reasons. But
that’s the problem with this paradigm shift in the industry: if developers
(Ninja Theory well among them) are trying to push games towards becoming more
like movies, they need to be judged accordingly. If they want to expand the scope, we need to
do them a favor by taking a deep, critical look at what they’ve offered. If they want to be taken seriously, they need
to prove themselves to us. If DmC is supposed to be the game that
takes the entire medium to the next level, then clearly the next generation of
games is about to become as worthwhile as a mound of elephant shit.
The fundamental flaw to
DmC (beyond its piddling cast) that
proves that it’s all ambition and fluff without any understanding of how to
fulfill that ambition is this: for all its posturing of an epic scale and a
globe-spanning threat, the world of DmC
is horrifically empty.
This is a story where
we’re told that the people are brainwashed and enslaved by their addiction to
the soft drink Virility -- a construct by the demons -- but we never actually
see them acting brainwashed or enslaved.
What does it mean to be under the demons’ control? What, exactly, makes them any different from
what they would be like without Virility’s influence? As the players, the most we see are posters
that paint Virility as something that poisons the mind and body, or is vaguely
implied to dull the senses and reason.
But why don’t we get to see the effects in full? The most we get is Dante slapping a can of
the stuff out of a fat guy’s hand -- and even then, the scene is more focused
on Dante than it is on the fat guy. Is
he addicted to it? Will he have
withdrawal symptoms immediately? Will he
attack Dante? Beyond that, what are the
bodily effects of Virility? It can’t
possibly make EVERYONE fat, because there are occasional glimpses of
average-proportioned people. Worse yet, Dante
and the gang put an end to Virility’s production, meaning that the people
should be coming out of their trance (so to speak). But we never
see the positive effects of their actions.
Or an effect at all. How will
people act without their favorite soft drink readily available? How will the media respond? Will this be the wake-up call the people need
to think “Wait a second, something’s fishy here…”?
This is the inherent
requirement for a story like DmC’s. Dante’s character arc (as you’d expect) has
him going from a misanthrope who’s only out for himself to someone who’d
willingly stick his neck out for the human race. Likewise, this is just one of thousands of
stories where the end goal is to “save the world.” But in order for that idea to be carried
across effectively, the audience needs to be shown the effects of every action. If the people of DmC are blissfully unaware of demon activity, show that. If the people are having their lives turned
upside down by Dante’s efforts, show that.
If the presence of this terrorist group inspires fear, show that. If the media shapes people’s minds in ways
that completely axe free speech, opinion, and even rational thought, show
that. Give us framework. Give us payoff. Give us a reason to care about the world
you’ve sunk millions of dollars into rendering.
Don’t make your world a cardboard
cutout.
But I guess it’s too
late for that.
I’m going to get back
onto this topic another day, because there are other examples that I’ll probably
bring up before this discussion is done. But for
now, let’s get in deep with what really matters: the gameplay.
1) Dante’s animations are kind of nice.
Let’s start off with
some praise, because there IS some that I have to offer. I know a lot of people were worried about DmC’s frame rate being bootstrapped to
30fps instead of 60, and for plenty of folks that may be a game-breaker. But even so, I don’t think that automatically
makes the game bad. Real effort went
into the combat system (as you’d expect), and it shows; there’s a wildness to
Dante’s attacks that I can’t help but admire.
He doesn’t fight like someone who’s got a handle on melee combat; he
fights more like a madman swinging around improbably-large weapons -- because
that’s exactly what he is. He’s got wide
swings, he stumbles, and he’s attacking with a real sense of momentum and
weight. It’s not inherently “stylish-crazy”,
but it does say a fair bit about his character, as any fighting style
should. In fact, Dante’s movement feeds
directly into…
2) The “impact factor” is handled fairly well.
I’m of the opinion that
any game with a heavy focus on combat (which is to say more than half of every
game ever created) needs to have some serious feedback and weight -- i.e. the
impact factor. And remarkably, DmC is a pretty good example of how to
pull it off. The benefit of Dante’s
animations is that you get visual confirmation of weight and force, and with it
anticipation; when he’s winding up for an attack, you sense it. Charge up for a heavier blow, and the camera
will zoom in a bit; release said blow, and you’ll get a bit of visual
distortion. But the audio does its job,
too -- you’ll hear plenty of satisfying crunches and splashes, especially when
using your demon weapons. And a number
of bosses in this game -- befitting their size -- have some heavy-hitting
attacks that you’ll definitely be feeling, whether they hit you or not. (Better hope they don’t, though; Dante’s still pretty fragile.)
3) Combos, combos, combos!
If you haven’t heard,
the combat system in DmC relies on
three “stances”: the neutral form, angel form, and demon form. Each form has access to only a handful of
weapons at a time, but you can switch between stances by holding one of the
triggers; hitting an attack button while in a form will let you use the
corresponding weapon. Press Triangle
without holding any buttons, and you’ll swing Dante’s sword, Rebellion. Hold L2 and press Triangle, and you can use
the angel scythe, Osiris. Hold R2 and
press Triangle, and you’ll take hold of the demon axe, Arbiter. Angel weapons are weak, but speedy and
emphasize crowd control; demon weapons are slower, but do huge damage, and the
neutral form is somewhere in the middle.
Compounding all this is the use of grappling hooks that take the place
of your guns when in a different form; the angelic grapple pulls you toward enemies,
while the demon hook reels them toward you.
It sounds like a
complicated system, but it’s really not.
In fact, it’s pretty easy to make some fancy-looking combos before
you’re even halfway through the game, no matter what your skill level. Here’s an example of an average fight: you start
off in neutral stance, Rebellion at the ready.
You rush an enemy with your Stinger attack, and keep hammering Triangle
to use your Trillion Stabs. Before the
final hit lands, you hit Circle to launch them into the air, and hold down
Circle to follow them. Once you’re
there, you hit ‘em with a series of Triangle attacks, launching them even
higher. That’s when you start holding L2
to go into angel stance, and then press Square to pull yourself up to the enemy
you just launched. Thanks to that, you
can hit the demon with Osiris, continuing the assault to launch them even
higher. Once that attack string is done,
you go into demon stance, pull them back toward you, and pound them with
Arbiter for some heavy damage.
It takes a little
getting used to, but it’s a system that’s accessible and works well…to an
extent. One of the biggest issues is
that…
4) No lock-on feature severely hurts
DmC.
As others have noted,
there is absolutely no reason why an ability to target enemies was
omitted. The player has not one, but two
dodge buttons; why couldn’t L1 be the target button? Why is a feature that’s been in video games
since 1998 (and even before that, I bet) completely missing?
When I started playing
the game, my brother warned me that I’d be missing the ability to lock-on
before the game was over. He was wrong;
I was missing the ability to lock-on before the
first level was done. Throughout the
game, there are flying enemies that shoot bullets and/or bombs at you, and if
you want to avoid being sniped in the throat (especially if you want to keep
your style meter up), instinct commands you to kill them first. Except hitting them always takes several more
steps than it should. Yeah, you’ve got
your guns, but Dante’s as likely to target a grounded enemy as the flying enemy
lining up its sights. It gets worse when
said enemy comes with a shield, meaning your bullets will just bounce off; you
have to demon-grapple the shield off, then either try firing at them or
demon-grapple again to attack with your far-stronger melee weapons…and this is
all while you’re regularly surrounded by other attacking demons.
Crowd control is
something that’s pretty important in DmC,
but the problem is that without the proper tools needed -- without the ability
to target and take down high-priority threats with ease -- you’re going to end
up wasting time trying to get oriented and regaining your advantage. But the lock-on issue is made even worse
because…
5) You don’t have as much freedom as you’d expect.
In general, I think the
combat system works. Part of the fun is
figuring out what you can do with the tools given to you, just like a fighting
game. It’s that ability to experiment --
to wonder “Does this work?” and then figure it out on the fly -- that makes DmC worthwhile. When you get a chance to let loose and go combo-crazy,
the game can be genuinely fun.
So of course, the game devises ways to limit your tool set
dramatically.
It’s one thing to make
certain weapons more effective against certain enemies; it’s another to make
certain weapons the only way to even
touch some enemies. Try swinging the
Rebellion against an enemy shrouded in a red aura, and it’ll bounce off
harmlessly, leaving you open for attack.
Try to use a demon weapon against an enemy shrouded in blue, and the
same effect occurs. In theory, this
isn’t exactly a problem, and it SHOULD make for some counter-strategies on the
fly. In practice, however, it’s forcing
you to use one weapon only -- and if you’ve spent most of the game devising awesome
multi-weapon combos, there’s a pretty good chance you’re out of luck.
Being forced to use
certain weapons only reinforces a certain opinion of my brother’s -- and my
opinion as well, now that I’ve finished DmC: a lot of these weapons have severe
weaknesses. I’d argue that the Rebellion
is the best weapon in the game, not just because it has speed and power and a
pretty damaging, multi-enemy-hitting combo, but by far the most available
upgrades. If enemies don’t have an aura
in place, chances are it’s your go-to weapon.
Before release I assumed that I’d be making use of the angel weapons
more than anything, but they’re incredibly flawed; sure, they’re quick and good
at crowd control, but you’d better be ready to hammer Triangle A LOT before you
do even basic damage.
The demon weapons have
the opposite problem; they do huge damage, yes, but they’re extremely slow, and
can be pretty impractical outside of combos or downed enemies (more so for the
flaming gauntlets than the axe due to range issues, but the speed and move set
are both meager at best). The later
weapons may be cooler, but they sacrifice practicality; why use the zero-range,
incredibly-basic gauntlets when the axe can do its job much better -- doubly so
after putting all my upgrade points into the axe and now have to put even more
points into the gauntlets to make them any better? It’s constricting, it’s annoying, and it’s
making the game less choice-heavy than it already is vis a vis the plot. But all this feeds into the next point.
6) Combat can get really messy, and not in a good way.
(Wait, is there even a
good way to have messy combat? Eh,
whatever.)
You can’t target
enemies with a button press; the most you have is a “soft lock-on” feature
where you point the stick at an enemy and hope for a hit (though in my case,
this led me launching a Stinger attack right into a trash can on the
sidewalk). If a red enemy and a blue
enemy are close enough, then attacking a blue enemy with the scythe will also
hit the red enemy, cancelling out the attack.
Leave some aura-shrouded enemies alone, and they’ll pester you with
long-range attacks. There are heavy
enemies that’ll shrug off most attacks, and fling your skull across the state
if you try to combo them head-on. Shielded
enemies make an appearance from the second level onward, requiring either a
heavy offense with your demon weapons or lucky strikes to their backside.
The game is programmed
so that enemies that are off-screen won’t hit you (which I’m thankful for, and
is indeed a smart move on the developers’ part)…but enemies that are on-screen will gladly screw up your
combo with a deadly rush or fired shot. And
there are still plenty of flying enemies -- and stronger ones, as the game
progresses -- that you have to contend with, especially if you want to avoid a
hit and maintain a SSS ranking. Except
you will get hit and will lose your ranking, because inexplicably most enemies
can smack you while you’re in the middle of a combo if you’re not dozens of
feet in the air. Even the dodge mechanic
is a little suspect; as noted by my brother (the battle expert), a game like DmC needs an ability to cancel your
combo on a dime with a dodge move…and lo and behold, there isn’t one.
So how is a player
supposed to deal with any mixture of these enemy types? Well, I found one answer: flail about and
hope for the best.
Spin Osiris around and
launch enemies as needed. Don’t bother
dodging; just jump around and get out of trouble (you can’t target anyway, so
repositioning isn’t as much of a problem).
Slam enemies to the ground by hitting Circle in midair, opening them up
for combos. If you’re in a tight spot,
use the Rebellion’s second combo to absolutely ruin most basic enemies’ day.
While in midair, throw around Arbiter, or use its launcher that moves
across the battlefield. Your inability
to quickly (and therefore effectively) take down a number of enemies means that
you have to get by not with skill and strategy, but wailing on whatever’s
nearest to you and easiest to kill. Is
that a problem inherent in all action games, not just DmC? Probably. It’s possible. But even so, there’s no denying that…
7) DmC really is too easy.
My brother’s always
quick to yell at me for being able to find ways to exploit game mechanics; it
didn’t even take me thirty minutes of playing PlayStation All-Stars to figure out virtually-inescapable kills
with Sackboy. So in some ways, it’s not
really a surprise that I found something that works when dealing with some of
the more annoying moments of the game.
But now that I think
about it, I’m starting to realize something: I shouldn’t be rewarded this much for so little.
Thanks to the way the
air combos, gravity, and the grappling hooks work, abusing the system is as
easy as it is effective. Outside of a
certain few enemies that can go all C-C-C-C-COMBO BREAKER on you, once you’ve
got a demon in the air, there’s nothing they can do to stop you as long as you
don’t drop the combo. And you won’t drop the combo, because doing
day-long combos is incredibly easy. Now,
it’s arguable that creating easy, faux-infinite combos won’t exactly net you a
SSS ranking (along with the game screaming SENSATIONAL at you), and I assume
that just doing the same attacks over and over won’t get you over the hump
either.
What WILL get you over
the hump is the fact that in DmC,
getting a SSS rank is as simple as doing high damage and not getting hit. That seems obvious enough, but the underlying
mechanic is skewed; there have been times when all I needed to get the game’s
highest honor is to use a basic attack string with the Arbiter, and watch as I
jumped up several rankings in an instant.
The same goes for an upgraded Stinger/Trillion Stab; my jaw almost
dropped as my ranking leapt up three whole letters just because I was mashing
Triangle. Incidentally, this means that
if you’re using the angel weapons in your combo against a single enemy, you can
smack them and smack them and smack them, but you’ll be lucky to gain even a
single letter past C-rank.
I played on Nephilim
difficulty (the hardest one unlocked from the start), and I can’t say there was
ever a moment when I felt challenged. I
died some, yeah, but never did I feel like it was because I couldn’t handle a
certain enemy. Nor did any enemy feel
like a threat -- just an annoyance.
Their moves are slow and telegraphed, most of them -- i.e. the
highly-vulnerable cannon fodder -- can easily be picked off, and even the ones
with auras and such can be quickly dispatched once you disable the gimmick of
the day.
I guess what I’m
getting at here is that there’s a severe imbalance. This is a game that (in theory) is all about
making the player look and feel badass.
But I don’t feel badass when I’m playing this game. Certainly not when my weapons are bouncing
off enemies. Certainly when I’m not
allowed to use the combos I want. Certainly
not when I’m getting smacked around while trying to do combos. Certainly not when my efforts at managing
enemies could be done by slamming a palm against my controller. There are moments when the combat system
clicks, and the player is allowed to go on the offensive freely -- make no
mistake about that. But there are just
too many moments where that joyous element of combat gets lost and buried under
gimmicks and requirements that grind the flow to a halt. Doubly so if those gimmicks and requirements
are used in place of actual challenge.
And on that note…
8) Boss battles? Nah, man.
All right. So, the boss battles. How are they?
Well, they’re boss battles.
They’re pretty much like the regular enemies -- slow with telegraphed
attacks -- but even more so. Only this
time, a fair number of them have obvious weak points to exploit. And instead of beating them with raw skill
and ingenuity, you get to have cutscenes that can leave bosses in stunned
states for you to exploit.
At least there’s only a
few of them. And to be fair, there is
one boss fight that isn’t just a matter of dodging wild haymakers and the
occasional projectile. Unfortunately,
it’s so piss-easy that I can…that you can…that an animal with paws can…can…
Ugh.
You know, I’m trying
not to be too negative when it comes to this game and this post. I know that if I keep this up, I’m just going
to end up going “I hate this game” at the end.
I’m honestly trying to bring up some of the high points here, as you can
probably tell. I’m trying to find some good in DmC,
something that justifies the existence of this game. Do you think I like jumping on the Hatemobile,
especially for a game that’s earned so much hate already? Do you think I like repeatedly having to face
stupidity and disappointment in my favorite pastime, watching as time and time
again the medium that I love so much continues to fail me? I’ll tear games apart, sure, but it’s a dirty
service I’m undertaking for your part, readers.
I’m doing this to protect and serve you, so that you’ll know what you’re
getting into. What to do, and what not
to do if you ever want to make games, or write a story, or whatever. I believe in the next generation of creators,
more so with each passing day because I know they can do more than this generation with its constant,
constant, constant failures.
I’m trying to find
something to defend about DmC. But if it’s this hard to try and stick up for
it, I’m starting to think that it’s not worth defending.
…Excuse me, I need to
go smoke Buckingham Palace’s weight in cigarettes.
9) Here, have some platforming.
All right. Where were we? Oh, right, the gameplay. Uhhhhhhhhh…let’s see here. Oh!
Yeah! Something positive for
once!
If you haven’t heard,
most of DmC’s action takes place in
Limbo, a twisted, demonic dimension that runs parallel to the normal
world. And you know what? Since its reveal, I’ve actually thought Limbo
was a pretty cool idea. It’s a colorful,
shifting world that threatens to harass and even kill Dante at virtually every
turn. Certainly praiseworthy stuff, if a little on-the-nose with its messages.
And it would be more praiseworthy if it actually
delivered on that promise. Outside of
one or two sequences, Limbo isn’t as much a constant threat as it is a backdrop
to the action and a way to show off the purchasing power of a few cool
million. Yes, Limbo will shift around
you, but never in any threatening way; it creates the illusion of tension by
twisting around you or suddenly ripping to shreds, but navigating even the most
“dangerous” areas just comes down to moving forward and jumping as needed. It’s a very artificial tension; the dynamism
that one would have expected is completely missing, and like plenty of action
games before it, they’re little more than connective tissue that binds one
mini-arena to the next. It’s also worth
noting that while I’m thankful there are more colors in Limbo besides brown and
gray, sometimes the game veers too far in the opposite direction; the palette
is too extreme, and can be a nightmare for anyone with a working pair of
eyes. (There’s actually a phase of one
boss fight where the colors are detrimental; everything is bathed in blue,
making it harder to see incoming attacks.)
Navigating each stage
doesn’t just come down to walking and jumping, though; once you get your
grappling hooks, that becomes your key means of traversing Limbo, either by
tugging debris out to make platforms or pulling yourself toward ledges (as
examples). Again, this is a concept that
works for the most part, but it has its flaws.
For starters, you can only use one or the other -- angel hook or demon
hook -- at certain positions. Not
exactly a game-breaker, but the fixed position of grapple points leads to some
missed opportunities; it would have been awesome and open up new paths for
exploration if you could pull this rock or that bus over where you wanted
(especially considering that there are a lot of collectables to grab). But the bigger problem is that there’s not
much interaction to be had when grappling from one glowy point to another…which
leads me to suspect that it’s less about platforming and more about showing off
DEM GRAFFECS. Also, I have a sneaking
suspicion the platforming is just there to pad the play time.
Wait a minute. Wasn’t I supposed to be positive on this
point?
…Uh...
10) Follow me! Set me free! Trust me and…et cetera.
Who the hell thought it
was a good idea to have sequences in an action game where you follow someone
around? Similarly, why have a level
where you follow around a teenage girl in a completely dull, nearly-colorless
set of corridors and the most you can do at that point is pull on glowy
bits? Similarly, why is there a level
where all you do is jump around and pull glowy bits so you can move debris out
of the way of a car, but because everything is going down in slooooooooooooooooow
mooooooooooooooooooooootion there’s virtually no way for you to fail and
you can stand around for a while or go searching for collectibles?
And now we get to the
real meat and potatoes. I’ve put it off
long enough; now, finally, it’s time to talk about…urrrrrrrrrrgh…the story.
…Next time. Hey, don't give me that look; what, are you willing to read through eight thousand more words? No? As I thought; so I'd say a little nap is in order, fair reader. Have at it, and check back in a couple of days. By then, we'll have some very interesting issues to talk about.
I think Ninja theory have a very different take on the Hack n' Slash genre, Having played Heavenly Sword and Enslaved, I think they prefer their games to be a bit on the easier side with some rock-paper-scissors strategy attached to it, but it does make for an easier game
ReplyDeleteNot saying this is better or worse then say.. Devil May Cry, God of War or Ninja Gaiden, but it is an interesting take.
Though to be honest, they usually have a pretty good writing even if flawed. Enslaved's ending was terrible, but the plot and characters leading to the ending was pretty good. The game goes for Heavenly Sword.
I haven't played enough of Heavenly Sword or Enslaved to make any judgments about them (though my brother finished Enslaved, and thought it was good enough). So if nothing else, I have to respect them for trying to put out new IPs...which makes it a little odd that they'd crib off an established franchise, but whatever.
ReplyDeleteIf we're talking about "interesting takes", though, then I honestly would have preferred for the God of War team to handle a Devil May Cry reboot than Ninja Theory. The combat between the two franchises might be different, but I would have figured that Capcom would entrust a series built on combat to a developer that understands how to build a game on combat -- it's on a different axis, sure, but you get what I mean. It was a gamble on Capcom's part, and in my eyes it didn't pay off.
I guess the intent was to entrust a good story to Ninja Theory -- but from what I've read, there was a miscalculation on Capcom's part. One of the key writers for Enslaved was Alex Garland, the same guy responsible for 28 Days Later and the recent Dredd movie. But apparently, he wasn't one of DmC's key writers -- only a story supervisor, with writing and directing duties handed off to NT's own Tameem Antoniades. Now, how much of this "supervisor" work Garland did is probably going to remain a mystery for a little while, and how much work Antoniades and his company are responsible for will probably be the same. But when it comes do DmC...
Look, if you're interested in the game, I won't stop you from getting it. You'll probably like it a lot more than I did. Just...just don't do what I did, and think about the story too hard. Just don't.
Yeah, it surprised me too. But it seems like Alex Garland and Ninja Theory aren't a package deal -- and in this case, it shows.
ReplyDeleteI just figured that I wouldn't be doing a fellow gamer a service if I didn't offer a fair warning; the stuff that I bring up in my posts may not be stuff that bothers everybody, but I think that they're more than legitimate concerns. Stuff that a regular reviewer might gloss over, but something that'll REALLY stick out in the eyes of a gamer.
Or maybe I've just been watching too many Zero Punctuation reviews, and Yahtzee's overwhelming cynicism is starting to rub off on me. Who's to say, really?
Wow, looks like it was kind of a struggle to find anything good to say. You have my admiration for continuing on though, I'm honestly not sure that I could do the same if I were in the same position. Still, even if it's only out of a twisted sense of curiosity, I look forward to reading more.
ReplyDeleteOn a completely different note, and I do mean completely different, if you've been looking for any sort of new anime to talk about, might I recommend the currently airing Jojo's Bizarre Adventure? I know the manga is really old, and they did an OVA of a part of it, but this series looks like it might be covering at least the main six segments of the manga. I recommend it if only because it is pure, unrepentant shonen. Seriously, watching too much at once may lead to testosterone poisoning.
I know it sounds odd to say, but it's honestly refreshing to see something just enjoying itself for what it is so shamelessly. It's a real blast, and if you like it I'm sure you'll have no lack of things to talk about regarding it.
Dude, I came here just frothing at the mouth at DmC and you soothed me with your well-balanced critique. Bravo, sir!
ReplyDeleteTo be perfectly honest, your presentation of the game's combat mechanics made me want to give it a chance. Perhaps if Team Ninja hadn't wanted to make a game that wouldn't make widdle gamews burst into tears due to difficulty turned against them, but DmC sounds more like a case of 'close, but no cigar' than a total bomb.
Of course, that is an opinion that does not take its horrible story into account. And the awful dialogue. And the shitty plot twists.
On another note, I want through your how to make a good...articles again and I was curious. Would you be interested in a collaborative idea like Columna Cerului, only with a DmC stylked game? You up for it?
To DmC's credit, the ideas are there, and there WAS effort to make it as close to Devil May Cry as they possibly could. So it's entirely possible that an action game that doesn't impress me (or plenty of others) is an action game that'll impress someone else (and plenty of others). I just can't overlook all the issues.
ReplyDeleteAnd of course, where DmC truly falters -- not just stumbles, but outright plummets into a gorge a la skateboard-jumping Homer Simpson -- is its story. The Devil May Cry games had their problems, but as I've said before, their stories never got in the way of enjoying the game. DmC's does. Repeatedly, thoroughly, and severely.
As for anime...well, I've seen a few screenshots of the new Jojo, but not much else. I guess it wouldn't hurt to give it a look -- but it seems like every time I say to myself "I'm gonna watch an anime!" I end up watching a few episodes and leaving it orphaned. Even with stuff like Funimation's channel and Crunchyroll, I've still got shows from years ago I haven't finished. It's a habit I'll have to get over sooner rather than later, I suppose...
Oh god. I almost thought you were breaking out the stage one music for Sonic Adventure (2... I think?) at the follow me part...
ReplyDeleteI'll wait for red-box on DMC. I think I'll enjoy it if I look at it the same way I did for RE 6. As long as didn't think of RE6 as well... resident evil... It also made me realize parts of RE I didn't miss... aimless wandering and managing piles of keycards. (Seriously. How did Umbrella Employees get to the bathroom?!)
I know I raised my complaints about the gameplay (all valid complaints, of course), but all things considered , in terms of combat DmC is a lot better than you'd expect. There ARE plenty of high points, and there WERE moments where I was having fun, and even ready to cheer. So yes, it's not a complete failure on that end. Just full of annoyances and, in spite of moment-to-moment thrills, is ultimately unsatisfying thanks to DmC pretty much being "Baby's First Action Game."
ReplyDeleteAs for the story...well, you captured in about two lines what it took me several days and several thousand words to explain. We're talking about levels of badness so great they have to be described in theoretical and imaginary terms.
But that aside, yeah, I wouldn't mind doing another collaboration, especially if it's for an action game. As a matter of fact, I've had a few ideas on a theoretical action game bouncing around my head for years (because I am me, and therefore a nerd). So it seems like quite the opportunity. The only issue is that I might be going out of town soon, meaning I won't have net access, so it might be a little bit before we can start in earnest.
Minor issue aside, I'm all for this. I can already see some interesting possibilities...
"How did Umbrella Employees get to the bathroom?!"
ReplyDeleteThey didn't. They just held it in. Or they just mutated into monsters whose intestines digested the excrement instead of releasing it.
But yeah, at this stage DmC is bringing up bad memories of RE6; the gameplay's different, sure, but they both inspire the same feelings of disdain and disappointment. I don't know what's going on at Capcom HQ, but between this, RE6, and plenty more, I'm seriously starting to worry about them.
Though I guess in this case, I should worry about Ninja Theory too. What's the next step for them, I wonder...?
Damn right! I'll message you on FaceBook, PM me whenever you're ready.
ReplyDeletehttps://www.youtube.com/watch?v=uq1PhGQtFoM
Ah, so the head writer isn't the same? That would explain why so many people seem to criticize the dialog. Again, haven't played DmC yet and I do plan on picking it up, but for all the flaws Ninja theorys' games had before (and there's usually quite a few of them) the writing wasn't one of them. Hence why I was so surprised that it became a common criticism for DmC
ReplyDelete