Thus, combat actually becomes the means of earning your keep within the game. These points can then be redeemed for special weapons upgrades, new skills, and later on, new armour or cyborg suits. These are awarded for style (the style ranking system remains), efficiency, damage taken and other areas, and are given after a staged combat area either during the campaign or in any of the 20 VR missions that can be attempted outside of the story.
Catch your breath for a moment, from this point on the pace is unrelenting.Īfter all combat you are rewarded with Battle Points. Along with a number of cyborg enemies which act as tutorial cannon fodder (or more accurately blade fodder) this first tutorial mission also includes facing off against a mech the size of a small tower block. Thus, the player finds themself immediately thrown into the action in the first of the game’s many fast and furious encounters. Bodyguards are there for a reason and unsurprisingly, Raiden is immediately called upon to earn his pay and defend the president from an assassination attempt.
He is now part of private group serving as the bodyguard to an African Nation’s president. We are re-introduced to Raiden hiding his new cyborg body in a smartly dressed suit and sitting in the back of a limousine. Still, brevity is the soul of wit and all that, and a little bit of script-trimming would go a long way.The game starts serenely enough, and begins approximately four years after the events of Metal Gear Solid 4. To be fair, they tend to be interesting streams of dialogue, as in the aforementioned discussions of its own violent nature. It's not quite the forty-minute cut-scene levels of absurdity witnessed in Metal Gear Solid 4, but the streams of dialogue and exposition are still exhaustive by most games' standards. Konami's approach to writing has always been to throw the editor from the rooftop before penning a single word, and in this Revengeance is no different. In a game whose action sequences offer so much imagination in the concept and flair in their execution, the disparity between those and the settings they take place in is quite striking.īut Revengeance's biggest problem stems from the "Metal Gear" side of its DNA. But Revengeance's offices are particularly sparse, and its cityscapes particularly grey and uninviting.
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Admittedly, the Metal Gear series is usually set in locales that don't offer much opportunity for artistic expression, office complexes, military bases and so forth. Speaking of the environments, they're a bit drab compared to those seen in Platinum's previous game, the madcap Bayonetta. It's an annoying oversight in a combat system that is otherwise brilliantly crafted. It particularly struggles in some of the smaller environments, spinning so that your opponents are occluded from view, and consequently they manage to sneak in attacks that break your flow, or disengage your target lock which you then must reapply. At times it seems to be fighting against you as much as anything else in the game. While Revengeance is generally a strong port, running well and with a decent if not outstanding number of graphical customisation options, one issue that should have been rectified in the port and hasn't been is the rather undependable camera. Unfortunately, they're not the only feature of Revengeance which irritates.
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On the "Morrowind Cliff-Racer" scale of nuisance enemy they easily rate an 8, and ought to be purged from the game's code like the norovirus. The only encounter which frustrates for reasons beyond being difficult is the first one, as it involves waves of squat-three legged creatures which swarm you, interrupting your attacks but not doing much else. Even the boss fights are excellent as far as boss-fights go: varied, inventive and testing your skills to their limits.
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