Red Alert featured a campaign for each faction with a full complement of FMV cutscenes, just like its predecessor, and again they do a wonderful job of setting the tone. Hitler has been handshaken from existence. It also included a map editor for players to create their own multiplayer battlefields. Red Alert didn’t just provide more toys to play with-it iterated on existing gameplay systems and brought in new ones, such as introducing a second, rarer resource that provided higher cashflow, unique hero units like Tanya, and naval combat that supported the main land forces.
But no matter how much I enjoyed it, I still consider TS as being stuck awkwardly in the middle of the C&C family-created too late to be part of the tried and true style of the early games, and created too soon to be more than a rough foundation for the greatness that was yet to come. TS was a unique game, and the chirp of its rifles and subdued burst of its explosions have been etched into my mind since I first played it. I spent many happy hours in that dreadful world, gunning down Nod and mutants alike and compulsively concrete-proofing my bases to stop Devil’s Tongue attacks. Frank Klepacki did an excellent job scoring all of the classic C&Cs, and Tiberian Sun is no exception, with a moody techno soundtrack thatperfectly communicated “the world is a Tiberium-infested hellscape, enjoy fighting to the death over it.” Listen to this track from TS, Valves- it sums up the combination of gloom, mystery, and ceaseless combat that Tiberian Sun’s world was about. Its satisfying selection of futuristic soldiers and vehicles balanced against each other well to allow a variety of tactics throughout its campaign and its multiplayer. Terrain deformed from explosions, pockmarking the map as you battled over it. The engine looked fantastic for the time, and the blend of sprite-based infantry with voxel-based vehicles made for a memorable graphics style. For all its gloom, Tiberian Sun was an excellent addition to the series.
0 kommentar(er)
