They still got a few things wrong, however. So it's the rare Souls clone that doesn't feel like a straight rip-off. Secondly, rather than just flatly copy the Souls series' dark fantasy aesthetic, Deck13 sets this one in an industrial future that looks more than a little similar to Neill Blomkamp's films (specifically Elysium, to which there is an unsubtle reference). what you expect to happen actually does, and collision doesn't suck) but actually offers its own new twist - players can use the right stick to target individual body parts, either to deal more damage to unprotected areas or to harvest pieces of armor. The first is that the combat is not only functional (i.e. The Surge offers two major improvements over Lords. Deck13 Interactive has made another attempt, and while it's not great, it's a step in the right direction and, I mean, hey, now we know that they're really serious about this, so I'd honestly like to see them continue to fine-tune their take on the formula.
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But now that From Software is taking a break from these sorts of games, I expect more developers to take up the mantle and cater to this niche.
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Lords of the Fallen released when we were still regularly getting new Souls games, and as such, there was little room for a surface-level mimicry that utterly lacked the depth and finesse of the series that inspired it. I'd like to be constructive about this one. That sour final note dampened my enthusiasm, but nevertheless, this is one of 2017's mot\re pleasant surprises so far. In fact, my only real issue with Prey, though it is a major one, is the rushed and underwhelming manor in which it concludes, hurrying through a high-stakes finale for a final twist that severely undercuts the complexity of the game's world-building.
![diluvion mystery 1 emblem diluvion mystery 1 emblem](https://i.ytimg.com/vi/nmJiWInLoAQ/maxresdefault.jpg)
It runs 25-30 hours and could easily have lasted me far longer. What it amounts to is a BioShock clone that's better than BioShock - deeper, richer, more open to experimentation (in both navigation and combat), and with moral choices displaying shades of grey. The entire exterior of Talos I can even be freely explored if someone were to collect the game's collision data and assemble it all into an interactive 3D map, as was done with Dark Souls, I'd be surprised if there was any geographical cheating involved. The station's hundreds of employees are all in the game and accounted for, and countless email conversations and bits of environmental storytelling build a world that didn't just start existing when we arrived there. The game features decades of alternate history backing this place up, and its layout is arranged in such a way that it could easily function as both a living and working space. Talos I, the space station on which Prey is set, will likely be the most believably-realized video game setting of the year.
![diluvion mystery 1 emblem diluvion mystery 1 emblem](https://static1.thegamerimages.com/wordpress/wp-content/uploads/2020/12/Fire-Emblem-Shadow-Dragon-2.jpeg)
Prey succeeds because it is a game about small details. Even the Hollywood-grade talent that they always bring on board can't elevate the listless dialog they're regularly cooking up. To my mind, that's the mistake that Arkane's Dishonored series made by focusing on linear storytelling, which the studio just isn't good at. Prey's gunplay is hardly the best thing about it, and a level-based structure would have done a disservice to all of the world details that only emerge when players are forced to look carefully. As much as I'm thirsting for more Doom, I'm glad Arkane didn't go that route.
![diluvion mystery 1 emblem diluvion mystery 1 emblem](https://i.imgur.com/p39gDUp.png)
I expected this game to ride the Doom train from last year, since that was always my image of the original (with which this reboot apparently has nothing in common).