Shulou(Shulou.com)11/24 Report--

Years later, SE's luminous engine (and studio) has made a comeback, bringing players this open-world ARPG work. Can the problems that have occurred in "FF15" be avoided? Is it wise for FF16 to start anew and abandon the luminous engine? Let's take a look at the performance of this work!

Drake 7

After acquiring a lot of magic and skills, the combat part is interesting. Taken together, although this work is not useless, but the rest of the drag is too serious.

Three days and months 6.5

Gorgeous fighting and brisk parkour are the biggest highlights of this work, but it's a pity that it's a mess.

Hitachi 6.0

The boring open world is so boring that even the basic mirror operation, modeling and resolution are not up to modern standards.

The story of a poor narrative experience tells the story of a misguided cat lover who accidentally travels from modern New York to the land of spells, in order to go home and save the other world. the heroine has to embark on a magical journey. (the heroine is played by Ella Balinska, who has starred in Charlie's Angels and Biohazard Welcome to Raccoon City.)

The story not only sounds old-fashioned, but in fact it is also true. In the first four chapters, the game spends a lot of ink on introducing characters and worldview settings, but story development and character shaping are relatively insipid, which leads to the slow development of the early stage. Lagging behind the times, frequent black screen transitions, poor resolution and modeling make the plot performance even worse. In terms of play, because the skills are not completely unlocked, Magic Warfare, as the core of the game, only shows the most monotonous and boring part to the players, and the open world is not fully open until Chapter 4. Before that, players spent most of their time on boring conversations or even sneaking around.

After that, the main plot begins to speed up, and players need to go to the territory of the three witches and defeat them, and the process design is quite simple. Each witch's style is distinct, magic feeling is full, visual and play experience are satisfactory, but the plot performance and game rhythm are still indescribable.

For example, at the end of the plot, the story ushered in many reversals, and the truth gradually became clear, when the player thought he wanted to unlock all of them and was ready to do a big job (exploring the world). Later chapters become very lengthy, players' range of movement and ability to use are greatly limited, players who want to continue to explore the world have to fight to the end. Such a seriously unbalanced process design makes it difficult for players to plan their goals from beginning to end.

As part of the plot of "traversing", although the heroine's modern background accounts for a large proportion in the beginning and end of the plot, it only plays a role as a background board at other times. When players finally usher in the battle of "modern city", it is still just a background board, the difference between the two worlds is only on the surface, scene design, environmental elements, theatrical performances and even the protagonist itself, do not reflect too many modern characteristics.

The "unpolished" land of magic.

In the design of the open world, the map design of this work is lack of characteristics, and the buildings and landscapes are the same, which makes it difficult to bring up interest. Only in areas guarded by different witches, there are slight differences in topography and enemies. The configuration of the important places in the map also lacks a sense of design, just piling up the game and filling in where it is empty. They have no connection with the world, and naturally they can't immerse players in it. The experience of the open world is also quite repetitive, and the level design of clearing strongholds and time-limited challenges is lack of new ideas. Although with the increase of players' unlocking skills, the stereotyped combat can also get a good experience through the player's own operation, but the problem of level design is still perfunctory.

There are also a number of mazes on the map to play, each of which is located in a separate area, there should be a lot of room to play, but the actual effect is extremely mediocre. The simplicity of the internal structure is not a "labyrinth" at all. It is made up of regular and empty rooms, and the route is extremely monotonous. At most, it is to open a door to another exactly the same room. However, it is commendable that Guan Di BOSS is a surprise at the visual and combat levels, far surpassing the wild BOSS, and to some extent makes up for the lack of BOSS in the process.

In the plot, it has been stressed many times that the heroine is a cat lover, and her bond with the pet cat is also the driving force to support her return to reality. The cat will not be absent from the game, and players in the town only need to follow in the kitten's footsteps to find the collection, which can both pet the cat and unlock the reward. The witch's pet cats can also be found in the wild, where they need to sneak and pet them, then get close to the hostess and visit various delivery points (in a way, this is more like a visual collection).

In the exploration, detailed punctuation on the map, practical scanning function provides a lot of convenience, each place will clearly inform the exploration reward, so that players can plan according to their needs. From this point of view, the open world experience of this work is quite utilitarian-it does not do much to shape the game world, and the exploration experience is not much fun at all. but the numerical growth and equipment / magic acquisition that exploration brings motivates (forces) players to constantly explore the world.

The growth curve brought about by exploring the world is quite slippery. After all, the upgrading of equipment needs to be carried out bit by bit (consuming a material to increase the value), and it can be improved every time you pick up a flower and open a treasure chest. On the other hand, completing the challenge and finding the collection in the field can also directly improve the role attribute.

The indomitable magic parkour

Parkour is one of the core ways to play parkour, but compared with modern parkour, it may not be too eye-catching in the process. It doesn't have the immersion and excitement of shuttling between tall buildings, but the pattern of the action itself is a bright spot. As the process advances and map exploration, more and more actions will be gradually unlocked, such as scratching hooks and surfing, allowing players to explore more areas. Those acquired in the wild are more likely to be stunt, providing a richer range of parkour, many of which will play a role in combat.

The speed sense of running in the wild is full, and the road efficiency is extremely high. When touching obstacles, it will automatically trigger actions such as climbing, climbing, climbing the wall, and so on. Players can make a lot of cool moves after they have mastered some skills. But the design of the terrain limits the performance of parkour, and many cliffs make it impossible to judge whether they can be crossed or not, and it is common to rub up the cliffs like Ca BUG. Some hook and claw points used for continuous swing, but also because of high-speed movement become difficult to control, should have played a convenient, handsome role of the terrain, but invisibly hindered the player's mobile efficiency.

The battle of the combination of action and magic the battle of "Forspoken" belongs to ARPG play, and the protagonist's vigorous skill can easily combine magic with parkour, and the connection is also very smooth. Take the basic attack of earth magic as an example, the protagonist will be able to slide shovel, back somersault, side flip and other parkour movements with it. The other three magic movements are also different, and this is not fancy, it can greatly improve the fluency of combat, interaction with the enemy, but also ensure the continuous output ability.

In combat, players can use parkour to adjust their positions, distance themselves from the enemy or output around them, or run wild on the enemy's head. Parkour corresponding to the dodge action, can cancel most of the action, even if hit in the air can also be effective. If you master the enemy's attack mode and control your endurance, you will be able to move around in the crowd and make a gorgeous operation.

The magic part consists of four systems: soil, fire, water and thunder. each kind of magic is divided into three categories: attack magic (need to increase the level of magic, no cooling), support magic, surge magic (big trick). Each kind of magic also has a basic attack action, which is called recharge attack. After using the bridging attack spell, you can directly fill the level, which is also a skill that must be mastered in combat.

At the beginning of the game, the unlocked earth magic is quite simple, the form of expression and feel is more like a shooting game, attack magic is rapid fire, AOE, shield attack three types.

Fire magic is mainly melee combat, but the attack feedback is worrying.

The positioning of water magic is more like a bow and arrow, with three attack methods: scattering, sniping and arrow rain.

Thunder magic is one of the most special types, it needs to imprint the enemy through recharge attack / support magic, and then use attack magic to detonate. The number of magic, differentiation, combat experience is one of the few highlights of the game, the only drawback is the lack of expressiveness of some magic. The author believes that in order for magic to be impressive, it is necessary to choose concrete or abstract routes, such as charm and time stop, which are practical and concrete enough, while those such as summoning dragons and meteors are abstract enough and full of visual impact. In terms of this work characterized by magic, some of the effect designs are relatively conservative.

But compared with the conservative effect, the visual effect of this magic is very good, the particle effect is amazing, and it is even more gorgeous when many kinds of magic are released continuously in the later stage. However, this also brings another problem-this visual effect, which is regarded as "light pollution" in the eyes of some players, often hinders the player, making it difficult to see the movement or even position of the enemy.

Back to the topic of ARPG fighting, although there are many ways of fighting and smooth movements, but in terms of action play, the sense of attack is a hard wound. In ordinary combat, there are too many enemies and high frequency of attacks, and the experience is stuck between hard core and crisp. The accumulation of various growth factors also makes it easy to form an one-sided situation in the battle.

From the RPG point of view, more attention is paid to immediate reflection and operation in combat, and even aiming has become a major examination question. But strategy and BUILD are relatively lacking in depth, lack of linkage between magic, and skills naturally tend to be conservative (also to serve action play). However, it does not hurt, the combat part is still worthy of in-depth study.

The conclusion "FORSPOKEN" brings a very mediocre open world experience, repetitive and boring in play, and difficult to immerse in the look and feel. The character shaping and story development are relatively insipid, and the rough mirror and resolution add fuel to the fire. But the smooth and rich parkour movements, the combination of magic and action fighting, and the unique four-attribute magic are few bright spots. Overall, the fun of the film is proportional to the player's play time-the more magic you unlock, the more fun you have to fight, but the unbalanced process design, the nondescript open world and the mediocre plot make it difficult for players to last until that time.

This article comes from the official account of Wechat: UCGmedia (ID:UCG_Media), author: Drake

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