And while they work fine most of the time, they are sometimes limited, clumsy, and awkward.
Although the inspirations for these mechanics are obvious, none of them work nearly as well as the game from which they are borrowed. But that is one of the game’s biggest problems. It’s a nice variety of gameplay, and they are all passably executed. In addition, the game has a building-climbing mechanic similar to Assassin’s Creed, sneaking sections similar to Splinter Cell or Metal Gear Solid, and brawling that feels like many action-adventure games. The core of the game is a hybrid of Assassin's Creed and Grand Theft Auto, complete with car jackings, gunplay, and a living city in which to wreck havoc. The game is also interesting in that it is kind of a hodge-podge of gameplay elements from many other titles.
But it’s nothing some tweaks to the game’s or TV’s settings can’t fix. On the other side of the spectrum, the black-and-white areas are just too dark at the recommended brightness level, and make it hard to see where you are going. However, the colored areas of the city don’t look nearly as interesting as the black-and-white areas, and it’s almost a shame you have to free the city from the Nazis.
It’s a cool effect, and adds a bit of variety to the game’s otherwise uninteresting visuals. Areas that are under the control of the Resistance are rendered in full pastel color, in full sunlight and with birds singing. Areas of Paris that are under the control of the Nazis are rendered in black and white, with yellow, red, and occasionally blue highlights and complete with rain clouds and thunder and lightning. The big draw for this game is going to be its unique art style. Liberated areas of Paris will be displayed in bright, cheerful, pastel color whereas, Nazi-occupied areas are black and white, with highlights of red, yellow, and blue. The story may not be as well-written or as long as a game like GTA IV, but the thousands of free play targets and never-ending supply of Nazi footsoldier necks to snap could keep you coming back. The voice acting isn’t bad, but the dialogue sometimes makes it seem that way. The city sounds lively enough, and the period-specific music and ever-present Nazi propaganda give the game a sense of immersion. Some poorly-polished gameplay mechanics, dialogue that is far from Oscar-worthy, and a hefty dose of glitches and bugs might still put a grimace on your (and Franz Liebkind’s) face - but only temporarily.
The city of Paris looks strangely beautiful in the game’s highlighted monochrome, but the color areas are a bit over-saturated and washed-out for my taste.Ī somewhat flawed GTA / Assassins's Creed hybrid, but the novelty of playing a non-shooter World War II game, the huge amount of content, and the absolute joy of sucker-punching a Nazi in the face will bring a smile and chuckle to anybody who isn’t Franz Liebkind.
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