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Randomly Mine: The Best Games I Didn't Enjoy
🕑 Added 2020-05-15 13:01:01 +0000 UTCThe reason for not currently making a video out of this subject is mostly because the topic doesn't really build up to a greater point like before. So, all someone would get out of it is "this man doesn't like something I do" which isn't too interesting. But those of you reading this are likely my most curious viewers, so here's your opportunity to throw me to the wolves for thoughts on the following...
Judging from the amount of detractors standing alongside me on Twitter, perhaps this isn't such a taboo opinion, but it's one I've held since 11.11.11, when it was. Skyrim was one of the many reasons I stopped hyping myself for game releases by 2013. Oblivion's one of my all time favorite games, for being my introduction to the RPG genre, and retaining features that too this day I admire.
The development gap between Oblivion and Skyrim was enough to peak my interest, only to wait five years and find a game that not only I was overly familiar with, but one that really wasn't clicking. The setpiece ridden introduction wasn't a good first impression, the monochrome appearance of the world dampened my expectations on presentation, and the combat which felt dated in 2006 was utterly woeful with next-gen on the horizon.
It's true you can modify Skyrim extensively to your preferences. But you can't replace the boring quests, world, and structure, which were the three things holding this game back for me.
As well as the sword's sound effects. Easily the worst since Deus Ex. Swords don't go clunk, not unless you're fighting Stonehenge.
This game's the reason I had absolutely no expectations for The Witcher 3. I went into Assassins of Kings admittedly with excitement based on high-praise from a wide variety of critics. Yet, even as a teenager, The Witcher 2 felt immature. Gravely voiced characters swearing every other sentence, a dark aesthetic, and sequences of Geralt forced into dealing with thoroughly unlikable leaders, it all came across as childish.
Probably because underneath all that edge was a plotline, world, and characters which didn't at all grab my attention. Similar to Skyrim, I stuck with it for hours and hours, waiting for the moment when everything clicked, but instead, hours of playtime was met with jarring exposition narrated by a character I didn't know, before switching to someone I didn't know, only confirmed this game wasn't for me.
Despite the technically gorgeous visuals, excellent music, and undeniable style, it really felt like CD Projekt Red hadn't found their footing yet. Like a Teenager driving their Dad's car in the deserted parking lot. Yeah, they've graduated to a full-vehicle, but don't yet quite grasp the subtleties.
Thankfully, by Witcher 3, they earned a full license.
This is another reason I likely wouldn't do a video on the subject, the title's not exactly accurate, because I didn't dislike my time with Chaos Theory. I completely understood after completing most of it why so many people hold this up as the greatest stealth game ever made. It's atmospheric, it's tense, and it's stylish (mostly courtesy of Amon Tobin's iconic soundtrack).
But, I'd be lying if I said I love this game.
Because Chaos Theory's repetition really wore down on me, and this mostly stems from the environments and meters. Actually, mostly the meters now that I think about it. The entire game taking place at night didn't help, but that's not the main issue. My big beef with CT is that for all its superb presentation delivers, I'm ultimately not paying attention to any of it, as the game's more about watching your sound meter and moving to the tempo than it is about truly taking in the environment and judging for yourself.
There's no mystery when standing near a guard or walking into a new floor pattern because you always know exactly how much light your in, and how much sound your making.
This is likely what ultimately led me to enjoying Ubisoft Shanghai's Double Agent more, removing these meters, setting Sam in far more varied environments, and tasking you with tough decisions that unlike most RPGs of the time, were morally grey.
Clarity is important, but Chaos Theory to me is what happens when a game gives you so much information, that there's little to keep me searching for. For the record, MGS2 has this same problem with the Radar, but Metal Gear keeps you entertained in other ways beyond the moment to moment gameplay.
Comments
Dominik Jaworski
Okay, I just realized you only mentioned the sound meter in your OP. Thanks for the answer. Also... will there be a Thief... years later 🙂?
Lucas Raycevick
Love the Thief games, and I should've clarified, the light system itself makes sense in stealth games. It's when combined with the sound meter that it pulls me away, I think it's also to do with functionality. In light meters, it's still up to the player to decide when they're too exposed. Whereas the sound meter informs you what the limit is per area.
Dominik Jaworski
Interesting take on CT, what about the thief games, they also have a light metric?
