![]() ![]() Chillingo‘s new Guerrilla Bob ($3) borrows the concept from Mercs and the visual style of the 2008 follow-up Commando 3, offering a cartoony set of eight levels that place you in control of a soldier named Bob as he seeks revenge on a criminal former friend named John. iLounge Rating: B-.Ĭapcom’s Commando series-including a sequel called Mercs-was amongst a small collection of influential overhead military-themed run-and-shoot games, placing you in control of a Rambo-like guy with a gun and a collection of bunkers to storm. ![]() ![]() A premium $10 asking price demands far better than this. That said, the game’s obvious problems detract so much from the experience that we wouldn’t bother with it unless you’re a real big fan of the series Ubisoft has lost a lot of the magic that the first game borrowed from Prince of Persia, and what’s left is a somewhat confusing and lackluster assembly of parts. To be completely fair, a broader perspective on Assassin’s Creed II Discovery would note that the game is a competent enough action platformer with nice animations, plus the vague thrill of close-up camera work when you manage to sneak up on an enemy for a quick assassination-style kill. The action and levels are repetitive, and just not compelling on the flip side, however, the music and sound effects are well above par, even if they don’t make up for the other problems-full voice acting is included for the intermission scenes, and a real soundtrack actually sounds pretty good. Besides the fact that so little of the action this time around is fun, the controls feel floaty and unresponsive at times, leading you to make bad jumps, obscuring the enemies you’re supposed to be sneaking up on, and requiring you to hit the attack button again and again for relatively pointless combos. For whatever reason, Ubisoft replaced the prior game’s small corner joystick with a left and right movement slider, using multiple context-specific, changing buttons to handle jumping, rolling, fighting, and stealthy sneaking. It’s decidedly weird and entirely unfitting for a game with a 15th Century Spanish theme, and just one of the things that takes a player out of the experience rather than drawing him or her in. For instance, you train for missions in an odd virtual world, and when you fail in a mission, the background art dissolves as if everything you’re doing is taking place within a computer. Though the old world European themes remain intact, the interesting little background animation touches that gave the last game’s levels life and brilliance are gone, replaced by Metal Gear Solid-style VR effects. Here, you’re controlling a sword-wielding assassin named Ezio who progresses through stages that are still built from the polygonal 3-D shapes seen in Altair’s Chronicles, but are now presented from a comparatively boring flat side-scrolling perspective. By creating plausible, visually interesting 3-D backgrounds and characters, then using largely 2-D gameplay to let you jump, climb, and fight your way through stages, the first game looked and felt like what it was-a great $10 port of a $30 Nintendo DS title But there are so many bad decisions in Assassin’s Creed II that the games feel like they were created by totally different development teams, the latter neither understanding nor properly replicating what worked for the former. It’s always a mystery when a really impressive, groundbreaking game is followed up by a less impressive sequel, but that’s what happened with Assassin’s Creed II Discovery ($10) by Ubisoft, the retrograded descendant of last April’s Assassin’s Creed: Altair’s Chronicles. ![]()
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