Do not cite the deep magics to me, I was there when they were written. I grew up on System Shock and Deus Ex, and that’s exactly why I found Dishonoured so hard to get into. Those other games gave the player a complete free choice in how to approach them, but Dishonoured doesn’t do that. It presents an apparently wide open field, but the moment you pick a particular path and set off down it, the game wags its finger and says “Oh no, not like that. That’s not how you’re supposed to play.”
There’s also a lot of stuff throughout the game about how the city gets more corrupted, more rats everywhere, that sort of thing. Some of this makes some stuff harder, some of it is just vibes. But all of it is the designers very noticeably wagging their finger under your nose for engaging with the mechanics they made and actively encouraged you to engage with.
I’d be happy with either option. If you’re going to punish the player for not doing perfect (eg, no kill) stealth, don’t tease them with a bunch of really exciting combat mechanics. If you’re going to include all the exciting combat mechanics, don’t punish people for using them.
I bailed on Dishonoured for one very specific reason; the morality system.
Dishonoured is, in my opinion a spectacular example of game design, and an equally spectacular example of how to break your game design by not understanding the way players interact with the tools you give them.
Dishonoured is a stealth game. It’s also a game with a superb combat system, and a really fun and exciting set of powers for the player to enjoy using. These things can, sort of co-exist, if somewhat uneasily. But then you add the morality system.
The morality system, in effect, punishes you for playing the game in a non-stealthy way. Or, more specifically, for playing with the wrong kind of stealth. The morality system wants you to ghost the whole game, slipping past every opponent without the slightest evidence you were ever there. But doing that means not engaging with most of the powers and any of the combat.
Having the option to follow a ghost playstyle is great. But when the game sets up a bunch of really fun mechanics, then punishes you for engaging with those mechanics in exactly the way they were designed to be engaged with, that just sucks.
Usually. Enter The Matrix was one of the rare exceptions. That game genuinely slapped. The gameplay was crazy fun; it took all the slow-mo coolness of Max Payne and added wall-running, super jumps and martial arts. The combat was lots of fun, and the story was all written by the Wachowski’s to tie in with the second and third movie, including actual scenes that they filmed as part of the process. They took it really seriously, to them it was an essential part of the story.
Obviously the whole Matrix 2 & 3 saga has some problems, it’s not the Wachowski’s best work (how could it have been, they had a plot for one movie that they were told to expand into two), but the game is still a really fun entry in their ouvre.
This is an obscure one, and not high on most people’s lists, but my personal favourite PS2 game is Steel Lancer International, a game where you build mechs and take them into arena battles in a post-apocalyptic future.
Absolutely amazing game. Just Cause kind of captured some of the same energy, but never quite there. There’s nothing quite like being able to deploy cluster bomb strikes at will.
Dread is legitimately one of the best horror RPGs ever created.
For those who don’t know, it’s a game of “Final girl” / “Cabin in the woods” style horror where terrible things happen to a group of people. The only mechanic the game has is a Jenga tower. Every time you want to do a risky action, you pull a brick. If the tower falls, something really bad happens. No other game has ever quite created such a perfect feeling of steadily mounting tension and… well… dread.
But what constitutes “RPG elements?” Because most of the time that seems to mean “crunchy stats”, which has absolutely nothing to do with “Roleplaying.” I’ve seen Call of Duty described as having “RPG elements” because you unlock perks.
Your average visual novel is more of a roleplay experience than half the CRPGs I’ve played. If reviewers mean “There’s very little player choice or input and you don’t really get to feel like you’re embodying a character” then yeah, that’s a valid criticism. If their complaint is that they didn’t get to put enough dots next to things, I’m not really sure how that’s a problem.