Call Of Duty: Black Ops Iii For Pc Reviews

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Hotline of Duty: Blaông chồng Ops III takes place in a future setting not quite cthua kém enough khổng lồ describe as "near-future". It"s somewhere in the middle distance, và while the concerns of military and intelligence organisations don"t appear to have changed very much, the cyber-modifications available to lớn soldiers promise lớn make the battlefield a place of superpowered clashes between robots, humans, and operatives caught somewhere between the two. With an arm full of not-plasmids & a sniper scope at the ready, I plunged into lớn the chiến dịch.

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The Blaông chồng Ops III campaign has a "Realistic" difficulty setting. Even baông xã in the days when the series muddied its boots in the fields of occupied France, "realistic" wasn"t the first word that came khổng lồ mind. There was no simulation of the actual business of a battlefield; instead, most missions contained a series of spigots that released a steady flow of enemies until stopped. That it worked is testament to the thoughtful kiến thiết, both of individual levels và the overall intensity of combat, which emulated the chaos và fear of battle. hotline of Duty was sound và fury, a far cry from the considered approach of Arma, but it signified something. In recent years, everything has become louder but much of the meaning has been lost.

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That said, Blachồng Ops II, which I recently played during a marabé tour of gọi of Duties past & present, was marching in the right direction. While most agree that the multiplayer showed the game at its best, as expected, the chiến dịch was as enjoyable as any of these bloated blockbusters have sầu been since the first Modern Warfare. While the multiple endings and settings were sprinklings of seasoning rather than signs of an entirely new recipe, the setpieces were more involving than in some previous entries, & there was a greater sense of agency in combat thanks to lớn some neat abilities and gadgets.

Black Ops III would seem like a game in retreat if its defining characteristic weren"t a forward momentum that begins as a stumble & eventually becomes a headlong tumble. The opening, before the introduction of the player"s cybernetic enhancements that promise to lớn introduce a more kinetic experience, is almost parodic. Anyone who has played Serious Sam 3 might well reGọi the anxious opening stage, which bled inlớn the opening couple of hours. It seemed to lớn be a joke at the expense of the modern military shooter – corridors, brown textures everywhere, small groups of enemies and very little freedom of movement. It was a joke that went on for far too long.

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If Black Ops III has any intention of poking fun at its own heritage (& I very much doubt that it does), it swiftly becomes apparent that this is a chiến dịch in tìm kiếm of a punchline. That opening scene contains all of the grimly predictable, restrictive sầu nonsense that forms a punching bag for detractors of the series.

High tech military folk have sầu a plan và when it goes wrong, all of their computers và guns are worthless in the face of prescripted explosions and mindless enemies. Then it"s time for a quiông xã session of “Follow Hendricks” - which would be an apt subtitle for the game – as your partner leads your chosen character (you can be a man or woman, with several premix faces khổng lồ piông chồng from) inlớn an NCR base lớn rescue hostages.

It"s an infiltration, I think, but there"s little urgency và no attempt to lớn stay hidden. Hendricks walks past burning soldiers and vehicles, and calmly enters the facility. You follow. Once inside, he moves across walkways and through rooms moodily illuminated by fire & waves of emergency lighting. And then your superior tells you, via a radio that"s probably implanted in your neck, to lớn use a computer. You follow Hendricks to lớn the computer và then press a button.

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Camera feeds appear on the screen and you can cycle through them to see various parts of the base. Rather than using the information khổng lồ plan a defense of your position or a deeper delve inkhổng lồ the building, you"re subjected khổng lồ a parade of torture sequences, which range from waterboarding khổng lồ blowtorch-based terror infliction. It"s a series of cutscenes, separated by button presses, that exists lớn show exactly how unpleasant the NCR are. They"re doing the sort of things that intelligence agencies around the world bởi vì, but they"re just so brazen about it.

Toward the end of that opening level, Hendricks orders you to lớn breach a door. Beyond, there is a vantage point inlớn a room where the key hostage is held. Hendricks finds another entrance và counts down – 3, 2, 1, GO GO GO – & then bursts inkhổng lồ the room. I didn"t react immediately as the countdown entered, which left me shooting at a room devoid of life, apart from the crab-walking Hendricks who had immediately killed all hostiles. This was to lớn be a theme throughout the remainder of the chiến dịch – if you don"t get your shots in quickly, there"s not always anyone left to lớn shoot.

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Things pick up a little when the cybernetic powers have been introduced but even when you"re able lớn cause robots khổng lồ immolate mid-combat while hacking inkhổng lồ and controlling enemy drones, every firefight feels somewhat predictable. Almost every turn brings another reminder of Deus Ex: Human Revolution – from the initial wounding that necessitates your body modification lớn late-game plot developments – and Treyarch"s game is second best in every way. Even the magnificent detail of its world rarely has art direction lớn match the splendour of the technical achievements.

Of course, this is Điện thoại tư vấn of Duty, not a sci-fi RPG/immersive-syên ổn. It"s not trying to be Deus Ex but there is plenty of evidence that it"s trying to lớn be something more than a straitjacketed on-rails shooter. There are imaginative sầu & tightly constructed virtual reality sequences that teeter between computer simulation và military nightmare. When the game is firing on all cylinders with its visual flights of fancy, it seems ready to break out of the dull rhythm of its repetitive & weightless action, but even when you"re seemingly trapped within a figment of your own (digital?) imagination & memory, you"re still shooting conveniently placed explosives & enemies that are more interruption than threat.

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The story they"re interrupting is neither a tale of gryên Clancyisms nor the clash of military sci-fi and superheroics that some of the trailers suggest. It"s Johnny Got His Gun by way of Michael Bay, & is precisely as confused và incoherent as that combination suggests. What it isn"t, và this is to its credit, is the celebration of new ways of killing that all of that pseudo-magical future-tech suggests. While it isn"t as blatantly harrowed by the horrors of war as Spec Ops: The Line by a long shot, Blaông chồng Ops III does concern itself with the trauma và shoông xã of combat.

That it does so in a ham-fisted fashion, and via what sounds like a bizarrely misdirected voice cast who believe they"re starring in a shouty melodrama rather than a game about shooting robots, burns away most of the goodwill the effort generates, but there is at least something here other than cyberterror and political gung-ho. By the overwrought & unexpected finale, I wanted khổng lồ mute every voice in the game and my reaction lớn the closing moments can be summed up by one word: “Incredible”. And it is. In the sense that I refuse lớn believe sầu nobody toàn thân took a hatchet to the script.

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It"s possible that the wall-jumping & other superpowers will make Blops III multiplayer exciting & fresh, but the chiến dịch doesn"t provide enough interesting spaces khổng lồ play in. The shooting feels perfunctory và I was dismayed to find that one of the powers simply adds more icons and targets lớn a screen that is often made up of little more than orange buildings & sky, with a glowing objective marker right in the centre.

Everything important has a highlight. That is the advantage conferred by your magical cyberHUD. It"s always been the advantage a modern CoD player character has over the enemy forces though. Battlefields that are prescribed theme parks, with all of the attendant queues & rails. Once again, you"re guided from one place lớn the next, so often spending your time fixated on the rear of an NPC companion rather than on the layout of an area & the position of enemies.

By the time you"ve sầu endured its rockets "n" scopes bossfights, and an airborne section that would be one of the worst setpieces in the entire series were it not for Advanced Warfare"s canyon fighter jet blunder, Blops III feels exhausted và exhausting. A voice was screaming “CALM” & “AT PEACE” in my ear as the game came lớn an kết thúc, và the ridiculousness of shouting those things so loud felt lượt thích a good summary. But digging through my memory, I found a better one.

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In ye olde days, Hotline of Duty games would throw a famous quote up on the screen whenever you died, khổng lồ provide a moment of reflection between attempts. Now that I"ve sầu laid Blops III to lớn rest, I"ve found a quote that seems lượt thích an emang đến of my thoughts and feelings.

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“The crisis consists precisely in the fact that the old is dying and the new cannot be born; in this interregnum a great variety of morbid symptoms appear.”

That"s Marxist theoretician Antonio Gramsci. He wasn"t talking about Treyarch"s attempt to lớn move hotline of Duty campaigns forward, both mechanically & thematically, but he might as well have sầu been. The chaos, triumph và panic that the historical Call of Duty games occasionally captured is gone, & on this evidence, there is nothing but noise to st& in its place.