Another hands-on preview from Eurogamer, and they're sticking by their earlier assertions.<blockquote>As Oli's preview mentioned, Fallout 3 is not the most technically impressive game you'll see this year - the load screens that interrupt proceedings when you move between locations can kick in at jarring moments, the story's post-apocalyptic wilderness is often flat and low-res, and in third-person view, your character moves with an unlikely bounce in his step, which, at times, suggests he's trying to keep his spirits up while navigating this ruined wasteland by indulging in a spot of power-walking.
Things get significantly better at night, however, as the starry sky adds a monochrome sense of menace to the location, and even during the day, there are still plenty of nice touches to the design, such as a broken-backed flyover rising into the distant sky, or the discovery of a picket-fence-and-clapboard community, presumably once picture postcard idyllic, and long since shredded by a nuclear blast. Fallout 3 doesn't look terrible by any means, it simply seems disconcertingly inconsistent: the game offers up vast draw distances but has little to fill them with, and presents brilliantly menacing mutated enemies that often clip through the ground when you've killed them.</blockquote>Other than that, this Eurogamer article takes the rather curious viewpoint that Fallout 3 is too retro.<blockquote>Bad news first: when it comes to dialogue, Fallout 3 remains something of a stubborn throwback, unwilling to step away from traditional one-on-one interrogation mechanics and explore the new possibilities of a post-Mass Effect world. With no hint of radial selection or keyword attitude choices which seemed likely to become the RPG's version on Halo's rechargeable shield - a genre standard by virtue of near-unanimous theft - instead, a quick introductory conversation with the mayor of Megaton reveals that Fallout 3 is sticking with a system largely unchanged from the days of Monkey Island.
(...)
Dialogue is not the only sign that Fallout 3 is slightly old-fashioned. A trip to the local saloon in search of side quests reveals that the game's world can be slow to react to your presence, or often even acknowledge it. The saloon door is locked, meaning we have to tease it open with picks (instigating a simple but entertaining mini-game). This is all a little strange, as, once inside, we find that the place is actually open for business after all, and the saloon owner, who boasts a lovely silver mullet and a voice like Terry Wogan, doesn't seem to mind - or notice - that we've just forced our way in. More worrying is that, moments later, when we accidentally fire a round into the wall when trying to talk to the barman, nobody in the room so much as flinches.
(...)
But a single side quest or a half hour of chatting and shooting is no indicator of overall quality with a game like Fallout 3 that needs days, rather than hours, to get a true sense of. Our ninety minutes of exploration certainly raised a few concerns, with gunplay that we were often happier to run away from than engage with, and characters who would repeat the same handful of lines and were quick to forget the fact that we'd been shooting at them two minutes previously, but it also suggested a rich and engaging wealth of storytelling waiting to be explored. Whether the quality of the content allows it to rise above the sometimes glitchy delivery remains to be seen.
It's this clash of unpolished presentation and strong storytelling that may ultimately define what you make of Fallout 3. From what we've seen, however, it's tempting to suggest that Bethesda has unwittingly taken the game's theme of retro-futurism too much to heart. Confusing as it seems, Fallout 3 may represent the future of yesterday's RPGs, going back to when they were cruel, stubborn, and yet filled with memorable stories, rather than an evolution of the flashy, friendly, and often anaemic titles of today.</blockquote>That's certainly a new attitude. I like how he openly suggests all RPGs need to adapt to Mass Effect's model, tho'. Because nothing helps gaming as much as a total lack of diversity, right?
Things get significantly better at night, however, as the starry sky adds a monochrome sense of menace to the location, and even during the day, there are still plenty of nice touches to the design, such as a broken-backed flyover rising into the distant sky, or the discovery of a picket-fence-and-clapboard community, presumably once picture postcard idyllic, and long since shredded by a nuclear blast. Fallout 3 doesn't look terrible by any means, it simply seems disconcertingly inconsistent: the game offers up vast draw distances but has little to fill them with, and presents brilliantly menacing mutated enemies that often clip through the ground when you've killed them.</blockquote>Other than that, this Eurogamer article takes the rather curious viewpoint that Fallout 3 is too retro.<blockquote>Bad news first: when it comes to dialogue, Fallout 3 remains something of a stubborn throwback, unwilling to step away from traditional one-on-one interrogation mechanics and explore the new possibilities of a post-Mass Effect world. With no hint of radial selection or keyword attitude choices which seemed likely to become the RPG's version on Halo's rechargeable shield - a genre standard by virtue of near-unanimous theft - instead, a quick introductory conversation with the mayor of Megaton reveals that Fallout 3 is sticking with a system largely unchanged from the days of Monkey Island.
(...)
Dialogue is not the only sign that Fallout 3 is slightly old-fashioned. A trip to the local saloon in search of side quests reveals that the game's world can be slow to react to your presence, or often even acknowledge it. The saloon door is locked, meaning we have to tease it open with picks (instigating a simple but entertaining mini-game). This is all a little strange, as, once inside, we find that the place is actually open for business after all, and the saloon owner, who boasts a lovely silver mullet and a voice like Terry Wogan, doesn't seem to mind - or notice - that we've just forced our way in. More worrying is that, moments later, when we accidentally fire a round into the wall when trying to talk to the barman, nobody in the room so much as flinches.
(...)
But a single side quest or a half hour of chatting and shooting is no indicator of overall quality with a game like Fallout 3 that needs days, rather than hours, to get a true sense of. Our ninety minutes of exploration certainly raised a few concerns, with gunplay that we were often happier to run away from than engage with, and characters who would repeat the same handful of lines and were quick to forget the fact that we'd been shooting at them two minutes previously, but it also suggested a rich and engaging wealth of storytelling waiting to be explored. Whether the quality of the content allows it to rise above the sometimes glitchy delivery remains to be seen.
It's this clash of unpolished presentation and strong storytelling that may ultimately define what you make of Fallout 3. From what we've seen, however, it's tempting to suggest that Bethesda has unwittingly taken the game's theme of retro-futurism too much to heart. Confusing as it seems, Fallout 3 may represent the future of yesterday's RPGs, going back to when they were cruel, stubborn, and yet filled with memorable stories, rather than an evolution of the flashy, friendly, and often anaemic titles of today.</blockquote>That's certainly a new attitude. I like how he openly suggests all RPGs need to adapt to Mass Effect's model, tho'. Because nothing helps gaming as much as a total lack of diversity, right?
