Post
by Raiseth » May 11th, 2017, 6:44 pm
I think that was way too harsh of criticism over what is essentially a game made in attempt to recreate the magnificent hunk of a literary beast Planescape: Torment was.
I can even say they mostly succeeded in that regard. Despite ( sometimes tasteful, sometimes not ) inclusions of the previous game's elements and setting, TToN draws mostly from Science Fantasy setting of the Ninth World, which holds well even against Planescape. What I want to say is the writing was gorgeous. Quests were fantastic and nearly as non-linear as humanly possible. The Bloom was disgustingly beatiful. The Changing God was an asshole you loved to hate. All in all, a good job. I guess endings can be disappointing as heck, but that's mostly narrative preferences of the authors. I think none of them can say: "And then everyone lived happily until they quietly died in sleep in their old age." and leave well enough alone.
Most people who for one reason or another feel the gameplay was dissapointing ( really slow crisis progression when in combat with more than five opponents, for example ) don't remember P:T. By the way, Beamdog made an EE of it just a few days ago, go play it. Combat is by far the least satisfying part in both games, and at least in Numenera you can actually convince a majority of your enemy's coterie to switch to your side for you mid-fight or instead of fighting reenact your classic Ocean's Eleven heist IN SPACE!
Another criticism people like to provide is about shallowness of the game's companions. True, a talking skull is hard to find and hard to beat ( unless you read Harry Dresden, Bob is pretty funny ), and all of them are vanilla human in this game... or not? Callistege is a multidimensional contraption layered against herself who can over the game transcend mortality and become as close to a goddess you can ( if that's your kind of thing ). Erristis is injected with nano-infused supersoldier mind-controlling, self aware serum who call themselves the Audience. Rhin, for God's sake is a child, who you can drag underground, through a war zone, the Bloom or your own mind, which, all things considered, is a crappy thing to do to anyone, much less to a child. All for a good cause, of course.
The game was interesting, the game was entertaining, and, dare I say, the game was enjoyable in spite of its inherent flaws.
I really don't understand this whole shtick, especially after Siege of Dragonspear. As I recall, a really good game, Throne of Bhaal to the first Baldur's Gate, got dragged through mud because, you see, it had transgender characters. What about Inquisition? Or is it only okay if Bioware does it?
Sorry, I'm rambling.