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The Evil Within


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Nieprawda. Mam lot nad kukułczym gniazdem, milczenie owiec i mechaniczną pomaranczę w top 3 wszechczasów, więc ja się znam na fabułach dobrych.

 

E: dzięki blubi, w ramach kurtuazji odpowiem że ja się z tobą zgadzam trochę częściej, ale nigdy oficjalnie się do tego nie przyznam, aby nie wyjść z roli.

Edytowane przez nobodylikeyou
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Mikami ma super podejście do fabuły. Krótkie cutscenki z rozrywkowymi akcjami, zabawnymi dialogami i bum, grasz dalej.

 

Poczytaj opinie grających, w ogóle nie brzmi to jak Evil Within. 

 

 

The horror genre is dying, or so some folks would like to have you believe as big-name franchises like Dead Space and Resident Evil take a more action-oriented stance. But E3 gave horror fans some reason for hope with the indie title Outlast and the return of Resident Evil-creator Shinji Mikami with Bethesda’s The Evil Within.

 

I had the chance to watch one of Mikami’s team play a demo of The Evil Within behind closed doors at E3, and I found what I saw to be quite promising. Before the demonstration began, Mikami discussed how his team is “trying to create a terrifying game,” and that they are looking to bring us back to the old days of survival horror. I took this as a “fuck you” to modern action horror.

But what matters is the gameplay, so let me tell you all about that.

 

So begins a heavily scripted game of cat and mouse that is not unlike a movie character attempting to outmanoeuvre and outrun Leatherface or Jason Voorhies. You sneak, and when you have the attention of your hulking, chainsaw-wielding foes, you run like hell. At one point, in what I assume was a scripted moment, Sebastian took a chainsaw to his right calf, which left him limping. This served to ramp up the tension considerably, or at least that’s what it felt like as an observer instead of a player.

The problem with modern action horror is that those games make you powerful. You might be surprised when a necromorph pops out of a vent, and you might even be scared when you’re facing what feels like a few too many zombies at once. But in those games you have to physical tools to overcome the situation. That’s why something like the regenerating monsters in Dead Space stand out in those games; you can shoot those damn things all you want, but they will keep coming.

 

The early level takes on the structure of a horror movie, in that you are not powerful at all. Direct confrontation will get you killed, and that’s wonderful.

The highly scripted nature of this section might lessen its replay value, but I really like the idea of a heavily curated horror experience like this. It’s novel, but also effective. When done right, parti(pipi)ting in a horror movie scenario in a game will be far more effective than watching such a scenario in a non-interactive film.

 

After this section, which served as The Evil Within’s prologue, was done, the demo moved onto a section later in the game that seemed at first to be a more typical example of horror gaming. You’re in a house, and zombies are approaching, and Sebastian shoots a few of them and sets some traps by the windows that blow up when the zombies crawl in.

There are too many of them to fight off, though, and Sebastian takes off down the stairs, where suddenly, the world changes around him. He’s no longer in the house, but rather in some unknown location where things get weird quick. Eventually, a spider monster crawls out of the floor and attacks, and then the demo ended.

 

What Mikami appears to be doing with The Evil Within is something that horror gaming sorely needs: more scripting. Not every horror experience needs to be like this, but the idea that you could parti(pipi)te in an actual movie-type scenario is one that holds serious potential. In addition, stripping the player of his control over a situation is a pretty bold move for a AAA project like this. It’s something that might irritate a lot of folks, but will thrill true horror fans.

This all assumes, of course, that what I was shown is indicative of the full experience, which it may not be. They may just be hiding the endless zombie battles from us at this stage. But I’ll hold out hope, for now.

Edytowane przez _Be_
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Dobra, teraz powaga; zależy jak to traktujemy. Fabularnie takie RE1-3 jak na klasę B było spoko. RE2 nawet bardzo spoko. Prawie jak w klasykach Romero. W przypadku czwórki to już była z lekka klasa D. I poziom niskobudżetowych horrorów s-f, puszczanych po 21.00 na tv4. Przez większość czasu nawet nie chciałem zwracać na nie uwagi. Najważniejsze że rozgrywka i klimat były tip top. Nie ma drugiej gry, którą tak chętnie kończyłbym nawet 10 raz.

 

W sumie nie obraże się na poziom zbliżony do starych rewidentów, byle by wypaliły te dwa ostatnie elementy.

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Mówię o RE 4.

 

EW widać że idzie bardziej w psychodelę. Zobaczymy co z tego będzie, no.

Wiem, że mówisz i w tym momencie przenosze to na nową grę Mikamiego i w ogóle to nie jest ten klimat. Do tego owszem w RE4 mi to pasuje, kupuję konwencję, ale przy okazji nowej gry, która zapowiada się dobrze nie chce tylko głupiego pretekstu i nadprzyrodzonych sił, ktore zabijają bo tak, fajnie jakby za tym czaił się jakiś solidny background. Ale chyba zbytnio oczekuje od tej gry zbliżonej siły oddziaływania jak w Silent Hill, ale co? Skoro mogę to to robię.

Edytowane przez _Be_
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Sam się właśnie interesuje wersją na PS3 bo, powiedzmy sobie szczerze, zmiany względem past/current gen są raczej kosmetyczne. Z tego co ludzie piszą stabilne 30 klatek (najważniejsze!), ale są problemy z VS (mówię o wersji na PS3 cały czas). 2-3 dni i powinno być wszystko jasne czy warto jeszcze brać wersje na stare konsole. Jeśli oświetlenie daje radę a nie jest w jakiś znaczący sposób pokpione + oczywiście stabilny w miarę fr to biorę w premierę na PS3, wersje na PS4 obadam sobie za rok ze wszystkimi dodatkami jak już dorobię się konsoli, a konsola dobrych gier. Ogólnie gra przekosi, co się ciśnie na usta jak ktoś dobrze zauważył:

I can't believe Resident Evil 5 is finally coming out.

E: i jedyne w sumie co mi się nie podoba to "porzucenie" inventory z RE4. Ciułanie amunicji powinno być możliwe i wynagradzane łatwiejszymi, w późniejszym etapie, starciami z przeciwnikami, a tu podobnie jak w TLOU narzucone limity co do nabojów.

Edytowane przez XM.
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Wyłażą powoli wczesne opinie po paru chapach.

 

Chapter 3

More of the same in an open area. Lots of scavenging, if you play stealthy you get enough supplies, matches are really overabundant but maybe that's just because I am sneak killing every haunted/using 1hit kill items. I used maybe 3 matches? The mini boss fight was a lot more action-y but it was really easy since I abused the agony crossbow and all the trap parts I scavenged.

Traps and trap chests are easy to disarm.

 

 

 

I have been playing it for the last two days now. I completed chapter 5 last night.
System: PS3

Graphics:
First of all as most of you know now most games with the ID5 engine has texture loading issues but I can assure you this game doesn't. Graphically its decent but feels not polished enough. There are some bugs as well (clipping mostly). Except those the graphics are not consistent, with some filters (there are some red filters and blue ones at certain scenes) the game looks awesome at times and very decent sometimes. Its just not polished well. After the Digital Foundry article we will see but I believe the game runs around 25fps most times. That's the feeling it gives at least.

Sound:

Sound design is very well done, but I can't say I liked the voice work much. It feels like a decent Hollywood action flick if you know what I mean. Sounds are well done, that's you can clearly understand if an enemy is far or close, you don't even need to see them. Music's are good too, i only heard classical music but it brings the tension up and makes you jumpy.

Controls:

Controls are tight and well done. Just like Resident Evil 4 for those who are wondering (In terms of tightness). You can issue your weapons, grenades and items to directional pad and select them with one touch of the button. If inventory is brought up the game doesn't stops but goes into slow motion (really slow) so you can do whatever you want in the middle of the combat.

Now for some gameplay mechanics and details:

-Stealth is really a valid option in this game. I completed one chapter completely stealthy.
-Enemies are very quick to react to sounds. This works both ways, you can manipulate them using empty bottles (You can throw them) or by kicking doors. They tend to lose your ''scent'' quickly though in open areas, you can quickly run away and hide.
-Melee weapons are very brutal and useful though after one use they are broken. Melee weapons are also one hit one kill for normal enemies (Haunted).
-While they said ammo is very scarce, i had no problems up until so Chapter 5 as i stealth killed most enemies.
-Mini bosses tend to be much harder to kill and you usually use your ammo on them as they are brutal and follow you relentlessly.
-There are many kind of traps in the game. Bear trap, motion sensor bombs, booby trap bombs. You can pick to disarm them for parts (which you make arrows for your crossbow) or you can manipulate enemies into them. Its up to you.
-There are little statues. Shoot them as they give you keys. You can use those keys to open lockers in game's hub place and get gifts (ammo, gel, etc.)
-The game really has that survival horror feeling. Its the much deserved following to Resident Evil 4 so far and gives you much freedom with how you want to play the game.
-Crossbow is your all around weapon.
 

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