Each of the player’s decisions would commit their character to a certain path, opening some possible paths and closing others. There were no consequences for unwise upgrading, because if you spent your money unwisely, it wouldn’t be too long before you made more.ġ999 mode wouldn’t be just about having less ammo, less money, more, harder enemies-it would be about choice. In Infinite, upgrades for weapons and vigors both were purchased with money, and money was plentiful. The BioShock games have all offered some sort of upgrade system, and there were certainly limitations. What 1999 mode aimed to bring back, according to Irrational Games avatar Ken Levine, was permanence. I’ve been dodging them for the past ten minutes or so, and now they are stacked around me like volatile cordwood.Īnd I feel it again, fresh and visceral, a fear fourteen years old, a fear that’s never really gone away.ġ999 mode wouldn’t be just about having less ammo, less money, more, harder enemies-it would be about choice. Real, permanent, choice. The madness of Xerxes has turned them into good-natured walking bombs that want nothing more to greet me to death. Stacked on either side of me are a half-dozen protocol droids in crates. It’s like I’ve always been right here, the replicator facing me at the end of the hall, the walls opening into the cargo bays on either side. The minute I see the replicator, I feel it again. If nostalgia is the pain of coming home, then where, precisely, is home? The thing about elegies, though, is that they require the elegiast to decide what, exactly, has been lost. It is, in short, an elegy to the good ol’ days. It aims to recapture the challenge of System Shock 2, a particular kind of difficulty from which, it supposes, gaming has long since moved on. 1999 mode is named for the year System Shock 2 came out, and hearkens back, in theory, to a time when games were different. If nostalgia is the pain of coming home, then where, precisely, is home?īut Infinite’s offering in this arena struck me as something different.
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