![]() ![]() But if I were pressed to make sense of all of these elements of the first two games, the plot might sound roughly like this. The second game really wasn’t that much more coherent, and in fact by changing main characters and the timeline, it may have even confused the situation more. Put these in a blender on medium for 3 minutes, install, and use the mouse to shoot things. For example, the first game in the series doesn’t seem to be much more than a disparate, disjointed list of characters, places, and plot devices: a long haired, Japanese-horror-movie little girl whose sole purpose is to scare your pants off cloned super soldiers a cannibalistic bad guy with a gravelly voice a non-speaking military grunt (not very) creatively called Point Man as our hero (who has a largely unexplained ability to slow time around him) a potentially evil technology empire known as Armacham whose corporate offices have gone dark a half destroyed city of Fairport where all the action takes place. I say this task is difficult, because up until this last installment, this franchise has clearly relied much more on tech-demo-savvy atmosphere than on narrative coherency or consistency. 3 works as a culminating narrative (my main argument why I think the game has been undervalued), it’s important, though difficult, to try and summarize the narrative from the beginning. But in order to prove my point of how well F.E.A.R. If anyone ever wondered whether or not employing the skills of an actual storyteller matters in videogame creation, well here’s your answer.įor those of you familiar with this title, most of this post will be a repeat. ![]() I have no doubt that having actual writers on hand helped the studio pull the very loose threads of the existing story together into a unified whole of some kind (which, trust me, could not have been any small task). 3, in this case Steve Niles, screenwriter of 30 Days of Night, as well as horror-movie-Maestro (and has been) John Carpenter who acted as a consultant in creating cutscenes. This, I imagine, was due in large part to the contributions made by actual writers hire to pen F.E.A.R. games to various consoles), did an excellent job in fleshing out what had been up to now a very confusing, vague narrative. My position is biased because I’ve been a big fan of this franchise since the beginning, but I think Day 1 Studios, who spearheaded the third installment in the series (as well as being the developer who ported Monolith’s first two F.E.A.R. but I really do want to highlight what I think are some excellent points about this game, in both categories of gameplay and storytelling. In this post I’m not interested in going head-to-head with any critics– frankly I’m not qualified to do anything like that. Glancing quickly at the questionable Metacritic score of 75 (although that is considered a “generally favorable” score), and having just finished the game, I am at serious odds with the way that many critics evaluated this title. 3 to normal people, or just FEAR 3 for those who hate punctuation) doesn’t really seem to fit the bill, except that this is a game I feel compelled to defend. I only feel moved to chronicle my experience playing a particular game if it is especially crappy but I liked it anyway, or if the game is generally unknown and I think it is worth picking up, or if the title has just been buried by the dust of time and unearthing it provided me with a new understanding of more contemporary games. ![]() Land of the Dead: Road to Fiddler's GreenĪs I’ve stated previously on this blog, I play many more games than I actually write about. ![]()
0 Comments
Leave a Reply. |