Home Latest News ‘Desintegrating’ Tries to Take First-Person Combat to New Heights, but Can’t Get Off the Ground

‘Desintegrating’ Tries to Take First-Person Combat to New Heights, but Can’t Get Off the Ground

by Admin

With the opening of the V1 Interactive Disintegration, the experience offered by this game can be adapted very well. Unfortunately, that’s not a compliment. Although there are clearly some funny ideas cooking here, they have never been fully implemented. The weak handwriting, the repetitive play and the many technical problems clearly show that the decomposition takes more time in the oven.

We start the game with a short computer graphics explanation of the concept of integration. If a human wants or should trade his flesh and blood for a robot, well, now we have the technology. This TLDR about the state of the world is interrupted when we rigidly go from the shot to the recorded message of the future protagonist Romer, and then to the scene where he is tortured by another robot man whose sharp black armor can only mean that he is a villain. There’s very little explanation for what happens next: Romer escapes with a few other prisoners aboard the ship, I suppose, and they quickly join the resistance group they encountered on landing. It is clear that everything has gone wrong since the first integration commercial was broadcast.

The resistance is full of trapezoidal figures, although I would say that Waggoner is the worst of all on this front. He fills the weary magical roles of the Negroes and is the oldest Negro who usually shows up out of nowhere to recruit the gang and bring wisdom to their path. Waggoner is central to the operation and encourages more egocentric characters like Doyle to show more compassion. He’s the only representative of the resistance you’ve dealt with since the first missions, but he’s actively working to make Romera a leader and a man of power for no other reason than that he’s a major hotspot.

The other characters aren’t much better. Cocue is a Latin American joker who sometimes uses a woody and unnatural language; Agnes is a stereotypical and cheeky black woman; Shoguin is a less offensive and simpler mistake. They refer to the fact that there were gender differences or transmissions in their human past, but do not specify this, with the exception of the science-fiction concept of the trophy that the bodies of the robots are fully adaptable so that I can adapt them to my personality. We are not developed enough in real time with these characters to feel like another group of changing stereotypes.

The world and history as a whole also suffer from underdevelopment. The story of decadence began as if I was reading a comic book about prehistory. There is an understanding between the characters that speaks of a longer relationship and friendship, but in the game itself there is no flesh for them, because the plot is already progressing at a dizzying pace. We are expected to fill these gaps, but in reality these gaps are more important when it comes to relationships and common history.

The way in which disintegration creates context and legends is untenable and makes the bets weak. There’s nothing to worry about right now, except that the game says you have to do it. Even though I’ve killed dozens, if not hundreds of people, I’m not entirely sure Rayonne is the bad guy. They hate natural people and want to force integration, but that’s all I can say. I don’t think they know, not even Waggoner.

Today, more than ever, it is important to have content in stories of resistance, but disintegration has no message beyond the scientific model of what resistance can look like with little behind it.

The fight for disintegration suffers from a similar problem. It is clear that V1 wanted to adopt the trends of other shooters and genres and merge them into something new, but that never happened. Despite the development of systems such as hedging and mass effect planning, interest in the result is actually low.

Romer pilots a gravitational circuit, which in all directions and situations is a single plane with various weapons and an environmental scanner. Most missions have at least two additional satellites, and you can use the command pulse to tell them where to go or to open the containment cells or healing caches. The Command Impulse can also be used to command your unit to direct fire at a specific enemy. This is very important for the survival of the mission, because the way you guarantee the health of your troop differs from mission to mission.

It’s really the only variety of missions. Apart from the fact that you have to figure out how to keep everyone alive when your drug delivery system is changed or removed, the battle unfolds very quickly – very quickly. In the first hours of the campaign you will encounter cards that are very similar. They go from shelter to shelter and send the same three or four types of enemies. After one or two missions, skipping levels is quite reckless and becomes a syllable. Even if the landscape changes, the basic principle of battle doesn’t change. Having no reason to invest in the Red-Eye murder doesn’t make it any more interesting.

A somewhat boring battle is useless, given the many technical malfunctions; the disintegration seems disturbing. I played on both the PC and PS4 because there was a bug in my i5 processor that hasn’t been fixed yet. During the mission of the third story, my game crashed four times without saving my progress in the mission. The PS4 version really worked better, but I still had a complete crash and had a few cuts that were never loaded, although the sound was still playing.

I like weird and ambitious games with big ideas, but V1 couldn’t handle it here. The rot clearly wanted to use its gravity cycle to take the FPS games to new heights, but eventually it floated slowly while remaining low to the ground.

Disintegration revision code provided by the editor for PS4 and PC.

The dissolution ended on the 16th. June on PS4, Xbox One and PC.

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