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Immediately noticeable upon the first level of kill.switch is that the game is very similar to Syhpon Filter, but it's also taking the formula to another level. It escapes me why companies neglect to put the ability to peak around corners in third and first-person action shooters, much less having the ability to peak and shoot, but here kill.switch is, doing just that. One of the reasons I enjoyed Indiana Jones and the Emperor's Tomb was that it gave the player the ability to swivel around a corner, pop off a few rounds, then swing back around to safety. While I found that to be refreshing, I'm finding Namco's offering the release that finally pushes the genre into the direction it has needed to go for years now. Featuring 'blindfire' and an 'offensive covering system,' gamers will be able to move their gun around a corner or over an object, and let lose as many rounds as they can before the gun becomes too unwieldy; and with the offensive covering system, the pivoting method from Indiana Jones is used, but is taking a step farther with players able to peak above and around cover for more accurate shots, and immediately withdraw back behind their cover. Movement behind cover is also allowed, even for crouching, which is a huge plus. These features can be seen as novelties, but are really much more as they become essential tools in dispatching enemies that come hard and fast; they also go a long way in giving the game the extra pizzazz and depth needed to make it more than a run-of-the-mill action title. Having the ability to take cover behind barrels, crates, and walls, along with appropriate means of acting defensively and offensively in these positions, is fun and all, but it wouldn't matter as much if there wasn't a way to dish out some death as well. In their arsenal, players will eventually get their hands on M4s, AK47s, M1 12 gauge shotguns, M249s, and several other weapons that Rainbow 6 aficionados will recognize; covering the explosive side of things are regular, mini, flash, and sticky grenades. One perk of all the weapons is that they either have a secondary aim that involves a scope or the weapon's standard sights; the concentrated aiming can be kept for basic movements, but the camera reverts back to third-person when moving anything more than front, back, or strafing, but the game can definitely feel like a light first-person shooter at times. While all the weapons are enjoyable and get the job done, they aren't all that different, with minor variances being in long-range accuracy, loudness, and force - emphasis on minor. As progress is made in the game, players will be frequented by nightmares of their past that will slowly piece together the story. What would be seen as hammy in film actually works well here -- which might say something about how games have progressed in terms of telling a story. Regardless, the flashbacks are interesting and do a good job of adding a bit of mystery to the excessive action. The flashbacks aren't supposed to happen though, but are due to someone tampering with the computer that helps the player to maintain their enhancements and also acts as the player's only comrade. Problems arise as the computer itself becomes a target; needless to say, a damaged man who has his last vestige of sanity being messed with is going to need to eventually - and with pleasure - blow some shit up. Taking the various goons to task will have gamers traversing the globe, fighting in temples, on rooftops, in loading districts, and throughout all sorts of lovely industrial areas - and, of course, there is a barge level. Throughout the levels there will be conveniently placed crates, rubble, and equipment that can be used for cover, and they'll be used often. It isn't uncommon to go through an elaborate ballot of diving, ducking, shooting blindly, and laying down covering fire for each room of a level. The levels are design well enough, giving enough opportunities to attack and seek protection, but don't feel as varied as they could; and, while they are conducive to close combat with the shotgun, they aren't for stealth, which is a shame since the controls would've worked just as well for some neck breaking. The cannon fodder are a generic looking foe, but a foe that are just as well adapt to blind firing and seeking cover as the player is. Sometimes moronic, sometimes a little too good, the uneven A.I. tends keep itself somewhat balanced, but also beings to feel too scripted towards the end. While discussing the particulars of the game, someone mentioned to me that it reminded them of Time Crisis, and while that seems ludicrous at first, there is actually something to that; several times the enemy would simply pop up in a way very similar to Time Crisis, and would simply need to be gunned down with little in the way of a strategy needed - this feeling is especially true whenever the secondary sight is engaged. Of course, there are also certain times that the player will need to formulate appropriate plans to see their way to the end of the level; what makes this of particular interest is that, the events aren't random, so that makes completing the game easier, but also limits the replay value. When the enemies are at the top of their game, though, it's a pretty amazing experience. Just one elaborate shootout is enough to rival any movie - complete with dashes for cover, spent shells piling on the floor, debris flying all over the place, and the rattling of an enemy's body as a dozen rounds enter their chest. While
there are some aspects that need to be addressed, such as weapon versatility and
fleshed out enemy A.I., it is surprising just how much was done right with kill.switch.
Out of nowhere comes this great action title that manages to implement features
I have wanted for years, and does so with minimal camera and control fuss. It
requires the game to be played out in a variety of ways: sometimes methodically,
others stealthily, and some with situations call for out-and-out gunplay. Surprisingly,
I didn't find the game all that repetitive; I would, but after a 10 minute break
I was ready to dive right back in. Unfortunately, though, clocking in at just
about 5 hours, kill.switch is just too short, and I haven't seen any incentive
(re: goodies) to replay through the game again. I'm sure I'll end up doing so.
But still. Relatively basic in terms of graphical prowess, everything still looks good. Despite levels having little detail to keep them from looking sparse, much of what will be see are some nicely animated enemies, good explosions, and plenty of debris. The player's animations never present a feeling of intensity, and the dives look more like an attempt to fly, but the crouching and cover aspects look great. I've also been able to overlook the fact that reloading means little more than arm motions, thanks to spent shell casings flying in an appropriately cool manner. Even though the enemies are never drastically different, they still look good with their paramilitary garbs. What is important here is if the firefights look cool, and that they definitely do. Sound:
8/10 What really goes a long way in kill.switch being so fun, and also what's so surprising, is just how well the developers managed to keep the controls - for the most part - tight and natural. There will be a few instances when an awkward angle will seem to confuse the character, and there will be some moments when the camera gets too close to the player to be of appropriate use, but, by and large, an exceptional job was done in curtailing some of the serious problems a game like this could've had. Having the ability to duck, dive, and move along cover could've easily wreaked havoc on not just the controls, but the camera as well, so this is an outstanding first effort on Namco's part. Overall:
8/10 [ top ] | |||
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