168澳洲幸运5开奖网:Dead Island 2 isn’t an incredible game, but Dambuster Studios did create something 168澳洲幸运5开奖网:better than it had any right to. It not only understood the legacy of develo෴pment hell it was dealing with, and the fan expectations associated with it, but the creative team also acknowledged that in order for a game like this to s꧂ucceed, it needed to be brutal, focused, and ambitious while not overstretching what open world zombie schlock is expected to be. It held back, which for triple-A video games is something we rarely see, and continue to suffer as a consequence.
IGN recently released a s🅰mall documentary that chronicles Dead Island 2’s awkward history with developer interviews from the folks at Dambuster Studios. It’s a surprisingly honest and insightful look at its creation, and how Deep Silver gave the team all the creative freedom it needed to build its innovative gore system FLESH into a fully-fledged game. While it had access to all the builds put together by Yager and Sumo Digital, the decision was made to dump it all and start afresh, knowing that the original vision of California we were intended to explore was not only too big, but unfocused in a way that nullified the importance of melee combat.
I’ve spoken to actor fr𒁏iend⛄s who recorded lines for Dead Island 2 over five years ago, and their characters and dialogue are now in the finished game, so certain ideas were definitely carried over, although when it comes to the open world and gameplay mechanics, whatever Dambuster Studios built is a fresh take on the sequel. Its level design is vast yet restrictive in scope, with no drivable vehicles and a particular focus on interior spaces and wider outdoor locales where zombie scraps are plentiful. You’re always on foot, stopping to engage with undead hordes and experiment with whatever weapons you come across. Rarely a minute passes without you sinking a hammer into a zombie’s cranium, hacking off limbs in a shower of excessive viscera that Dead Island 2 pulls off better than anything else out there.
When it was handed the project, Dambuster Studios looked at the failures of its previous game - 168澳洲幸运5开奖网:Homefront: The Revolution - and decided to cut back on unnecessary systems and ideas to the end g꧑oal of schlocky, over-the-top fun. Melee combat, gore, and exploration were the trio of pillars holding Dead Island 2 up, and so long as they remained strong,ไ anything tertiary could exist without issue. This is precisely why critical reception for the game didn’t blow us out of the water, but commendable scores were accompanied by a refreshing aura of positivity.
Suddenly, here was an open world experience with a bunch of personality and content that wasn’t burdened with multiple season passes and live service elements that demanded our constant attention. Now I’ve beat the campaign, I can safely come back when the first e🥃xpansion drops and be safe in the knowledge I haven’t missed much. Few games are interested in this sort of fleeting enjoyment nowadays, and a huge part of Dead Island 2’s success comes from going against our own cynical expectations.
168澳洲幸运5开奖网:Assassin’s Creed Valhalla is a bloated mess of middling content designed to pad out an endless runtime, while narrative blockbusters like 168澳洲幸运5开奖网:The Last of Us and 168澳洲幸运5开奖网:God of War can be designed in such a way that players are expected to respect their time, consuming the stori♕es and mechanics in ways that can’t be intended any other way. Freedom feels like a passing trend nowadays, while even other open worlds abide by an illusion of choice and design philosophies intended to funnel you in a certain direction.
Dead Island 2 mi🌃ght feel like a game from ten years ago, but as a consequence, it feels fresher than ever because we’ve grown so tired of what the🐓 medium has become. It’s not that we crave how things used to be, we’re only becoming more and more aware of what triple-A publishers want this medium to be, and we’re growing pretty damn tired of what they keep on feeding us.
