Crysis 2 - console dumbing or awesome game?

Wow, all those complains for the story and he gives it a 7? :lol:

But seriously, why developers don't search decent writers? I know that good stories don't sell games (most of the time) but hiring a competent writer would make the budget skyrocket or something?
 
Ausdoerrt said:
I dunno, I found it to be bearable in this final release. It IS hard to spot the enemies for me, too, but I think it's because they blend with the surroundings (gray suits on gray concrete bleh).

PMC troops using proper camouflage in an urban combat situation. Abominable.
 
But seriously, why developers don't search decent writers? I know that good stories don't sell games (most of the time) but hiring a competent writer would make the budget skyrocket or something?

The story for the game was written by a decent science fiction writer - Richard K. Morgan, author of e.g. Altered Carbon. And I liked the novelization by Peter Watts, a Hugo Award-winning author (sure, it was not on par with his other work, but still), who was also consulted on some scientific aspects of Crysis 2. No idea how well the story was implemented in the game itself, though.
 
Ausir said:
But seriously, why developers don't search decent writers? I know that good stories don't sell games (most of the time) but hiring a competent writer would make the budget skyrocket or something?

The story for the game was written by a decent science fiction writer - Richard K. Morgan, author of e.g. Altered Carbon. And I liked the novelization by Peter Watts, a Hugo Award-winning author (sure, it was not on par with his other work, but still), who was also consulted on some scientific aspects of Crysis 2. No idea how well the story was implemented in the game itself, though.

Precisely. The issue is more than just "writers" the issue is that games have to be approached from an entirely different direction than movies or novels. Many of the best game writing was done by somebody who also works on more than just the writing aspect of the game.

The issue exists in movies as well but it is less apparent. (Hence the whole "the book was better" factor seen in many movies. Or why so many game based movies suck SO badly.)

Each of the mediums needs to be approached differently. As gaming has progressed to a far more visually intensive medium (compared to before where visuals and text were often hand in hand. Or even earlier where it was more text heavy and less visual.) The games writing has progressed more towards the style of movies (a visual media). This has led to a lot of what is plaguing the movie industry to also seep into gaming (hence the call for better writing/original ideas/less rehashes in gaming AND movies. As well as a heavy emphasis on action over story. As action is inheirently easier to understand, and is almost entirely visual.)

Eventually gaming will move past the "movie-esque" style of story telling that has become so prevalent in games of late. I suspect that the time it takes to move out of the movie style story though will take nearly as long as it took for games to leave the more text heavy "imagination" based style of the bygone era.

Neither of those forms of storytelling will ever disappear(thank god, cause I love my text heavy RPGs :P) but I think in the next 20-30years or so we will see a new style of storytelling emerge that is more attuned to what defines gaming.
 
Ausir said:
But seriously, why developers don't search decent writers? I know that good stories don't sell games (most of the time) but hiring a competent writer would make the budget skyrocket or something?

The story for the game was written by a decent science fiction writer - Richard K. Morgan, author of e.g. Altered Carbon. And I liked the novelization by Peter Watts, a Hugo Award-winning author (sure, it was not on par with his other work, but still), who was also consulted on some scientific aspects of Crysis 2. No idea how well the story was implemented in the game itself, though.

Well, then either this Morgan guy did a poor job this time (at least if we are to believe what that review said) or the guys at Crytek reeeeally botched the implementation.

Precisely. The issue is more than just "writers" the issue is that games have to be approached from an entirely different direction than movies or novels. Many of the best game writing was done by somebody who also works on more than just the writing aspect of the game.

Well, yes and no. Yes, storytelling in videogames isn't the same as in movie and novels, and therefore it should be approached differently. But no, some (too many) games simply have bad stories, with stupid revelations, plot twists, incosistencies, plot holes and so on. That was what I was referring to.

A good (well, bad) example is Heavy Rain, a game that is supposed to be all about the story and yet it has some terrible plot holes.
 
As I see it, the problem is that they try too much to bring, for lack of a better word, strange things in the game. Crysis 2 is by no means the only one guilty of this, but it's a good example. The ending plot twist is very... weird, and doesn't seem to fit the overall 'mood' of the story; this is game about shooting aliens in New York while in a super-powerful armor (why would you need an explanation for that anyway, just shoot them), and they try to bring in metaphysical concepts and fail because it seems to come out of nowhere. The series started as a semi-realistic shooter with power armor, and then there was aliens, and there is magic. It feels improvised, at best. Dead Space did something similar with the always plot-convenient, mind-raping Marker. Black Ops is another example of weird shit shoe-horned into a 'serious' story.

My point is, it seems like game designers are not content with war for the sake of war, and it must always serve a higher purpose involving superscience or downright magical stuff that has no explanation at all and clashes with the setting. I have nothing against a good old MacGuffin, all stories have them, but it's the lack of subtlety in implementing them that is glaring. Then again most game studios aren't exactly know for their subtlety.
 
Spoilers here:

[spoiler:02dae178b3]
Makenshi said:
As most reviews have said, the first 3 hours or so are rather slow. Well, if you disregard the opening cut scene, the sub level, etc. then yes that true. Except you know, the kill prophet. They basically give him a few lines, you randomly get the suit, etc. No explanation and the fact that he gives you the suit in that room with crappy tools causes massive continuity errors later on when Hargreaves wants it.

No error there. You see, the suit bonds with the host and has its own consciousness that with time becomes more and more merged with that of the host's, and the host is less and less able to distinguish his own thoughts from that of the suit's, and is less and less really himself. To quote the novelization, "What does seem certain, however, is that much of what we regard as the "person" that is Subject A now resides outside his own head. We are no longer justified in regarding the Nanosuit and its wearer as separate entities".

Prophet couldn't take it, so he managed to force himself to get rid of the suit and give it to the only one of the marines sent to retreive him who made it.

Thing is, the suit didn't like it. And it evolves, it learns. So it made sure that its new host would not be able to remove it. It not only fused with his body, but also deliberately consumed some of his internal organs for energy, so that he would not be able to survive without it.

"It is a jealous skin, Roger, and it's already been dumped once. Prophet had to literally rip it from his flesh and blow his brains out to be free of the fucking thing. Maybe the suit doesn't want to go through that again. Maybe it's whittling me down so I won't be able to--leave..."

Oh yea, no explanation or prologue to how the aliens got there, so I hope you played Crysis 1. They just ARE there.

They didn't "get there" in Crysis 1. They have been on Earth for millions of years.

Anyway, some stuff happens, a lot of the cool things you thought you'd see (i.e. tidal wave in new-york) you only get to see for a few seconds and are NEVER MENTIONED AGAIN.

They're not? That sucks. It's a major point of the book.

Eventually you learn that the Cell military leader (not Hargreaves) wants to kill you because you killed a lot of his guys.

Well, that and Lockhart's been against the whole Nanosuit program from the beginning, having even testified in a Senate committee against putting it to use, but I guess that's not mentioned in the game itself.

You foil his trap, some stuff happens, and of course, Hargreaves tricks you and tries to steal your suit. Oh, btw, you only TRIES to take it with some crazy gear designed specifically for the job. Remember prophet? Yea he did it with one scalpel. Continuity people!

As I said, the suit fused with Alcatraz much more thoroughly than it had done with Prophet by this point.


Anyway, you'd think that he'd just kill you when he fails to get it, but no. He basically goes "oh, ok. I was wrong. Here's what you need to finish the aliens". AND YOU GO ALONG WITH THIS. Seriously, wtf.

Well, by this point, he already knows he is going to die anyway, as he's in suspended animation, he has no way of getting the suit from you, and the Ceph are all over Prism. And saving humanity is more important to him than revenge (even if he were still capable of it at this point). What's wrong with that?

Then the spire sends out some sort of energy wave which kills all the aliens, and you get to talk to prophet and he says "man" a lot. Basically that the aliens have always been here (man), and that they build everywhere (man). Then your suit re-boots for the 47th time in the game and you magically come back to life. But then there's this German guy who talks to you over the com, who was never mentioned anywhere else in the game. He says his name too fast to hear it, says he's at your service and asks for your name. You say "Im prophet" (in prophets voice).

A remnant of Prophet's consciousness (which Alcatraz calls "False Prophet" in the book) lives on within the suit. At the end, what used to be Alcatraz is part him, part the suit and part Prophet, with False Prophet apparently being the dominant part of the final personality.

As for the German guy, he was mentioned elsewhere. He's Karl Rasch, the other founder of Hargreave-Rasch, who, along Hagreave, was a member of the expedition to Tunguska. Hagreave mentions that Rasch rejected his way of achieving immortality, but apparently he is still "alive" in some form or another.

How did the aliens change to much from C1 to C2?

No need to explain this, since they are not exactly the same aliens. Well, they're of the same origin, but generally they are a separate group that was dormant under New York for millions of years, although the Ling Shan incident might have alerted them and woken them up. Hagreave speculates that they're merely the aliens' gardeners, while Alcatraz/False Prophet thinks that they're even less than that - just stupid gardening tools improvising. If it was an actual invasion, we wouldn't even notice it before we were dead.
[/spoiler:02dae178b3]

Summary: Get rid of Richard Morgan.

I can't really comment on that, having read only the book, where, for all I know, Watts could have compensated for the game plot's shortcomings. But then again, you did get some of the stuff that must have been mentioned in the game (like Rasch) wrong.

Ilosar said:
this is game about shooting aliens in New York while in a super-powerful armor (why would you need an explanation for that anyway, just shoot them), and they try to bring in metaphysical concepts and fail because it seems to come out of nowhere. The series started as a semi-realistic shooter with power armor, and then there was aliens, and there is magic.

Metaphysical concepts? Magic? What the hell do you mean? I have only read the book, but I very much doubt the game differs that much from it.
 
@Ausir: For the record, that review is not mine - I stated that clearly, and that I agree with most of it, but it doesn't hurt to clarify that again ;)

It's from some guy at Incrysis.
 
I asked Peter Watts and he replied:

Richard was constrained by the fact that various levels, monsters, and boss fights had been set in stone before he ever came on board; he wasn't entirely free to build his own narrative. Also, some scenes from the book are based on scenes from earlier iterations of the game that didn't make it to the final cut; those would be Richard [Morgan]'s. Alcatraz's backstory, the tech reports and transcripts, all the third-party stuff and the retconning of, yes, plot holes, was mainly mine.

It would be nice if more developers involved writers earlier in the development process instead of having them write the story to tack onto a nearly ready game.
 
Browsing some old links I came across this new Service that DDM does in collabration with Verve Talent & Literary Agency. (Regarding writers in games)

http://www.ddmagents.com/DDM - Corporate.pdf
Verve Talent & Literary Agency
Verve was founded by former William Morris Endeavor agents, Bryan Besser, Adam Levine, and Bill Weinstein, to focus on existing and emerging content creators from TV and feature film spaces
Clients include Tron Legacy director Joseph Kosinski; Little Miss Sunshine and Toy Story 3 screenwriter Michael Arndt; Whiteout, Red, and the upcoming Battleship screenwriters Jon & Erich Hoeber
Current partnerships include Verve writing clients collaborating on narrative for Turtle Rock Studios’ original IP and Bedlam Games
and the Hoeber’s collaborating on an original IP for game, comic and film
 
"They are all dead men, you are all dead men."
Well fuck you very much Crytek.

This is perhaps the saddest point of this game for me, i'm near the end and i am thinking weather should i just uninstall this crap and forget it ever existed or cling onto some hope that Psycho and Nomad are alive, that the orginial story is not completely removed and finish it.

Story took a literal headshot. They stomp on mute Alcatraz throughout every point of this game with cutscenes that can par CoD every day, remove any connections to those events before in Crysis1 to appease the console public and say that final Quentin Tarantino like words at the end game "They call me Prophet(Profit)"
How can you not feel extreme rage after that.
 
Gotta do a bit of a Mea Culpa, at first I only saw bits of the plot while watching a friend play and extrapolated a bit much. The plot is not that nonsensical, even if some stuff does come from almost nowhere, like the Suit having a life of it's own.

Overall it's a quite good game, not as good as the first, but a solid shooter nonetheless. Areas are a bit linear, but it's nowhere near a corridor, and tactical opportunities are aplenty. One thing that bothers me is that the Nanovision is incredibly overpowered, as is Cloak. You really barely need any other powers (playing on Veteran, at least).

I also noticed people basing the AI left and right, but I tought it was alright, it used cover to a better extent than pop out-shoot (had a nasty surprise a few times when I was flanked) and it will use grenades and assorted nasty stuff to flush you out.

Another thing is that people say the first one looked better. Well, maybe it has more draw distance in the jungle, but overall Crysis 2 definitely looks better to my eyes, at Gamer settings only but max resolution, while at High settings in Crysis. The jungle is a more interesting environment than NYC, however.

Also, anybody knows how to disable motion blur? is there a mod or an ini setting or something?
 
It allows you to pick out grey soldiers from grey backgrounds :V.

Well, I talked more about multiplayer to be honest. Completely invalidates Cloak there and makes sniping much easier. Yeah it's mostly a gadget in single, but I guess everything is relegated to that save Cloak. I mean, I can plan an attack, plant explosives, be very careful and all that... or I can cloak and easily kill foes one by one. I just do the former, mostly, because it's more fun, and even Armor mode doesn't save you from several enemies gunning at once, especially against those damn Aliens.
 
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