The main thing that drew attention to the game was Deadpool himself, at long last making his debut as the leading man outside of a comic book, where your average Joe finally got to experience all the crass comedy and batshit-lunacy that comes with The Merc with the Mouth. Deadpool received mixed reviews, with most complaints directed towards the schizophrenic difficulty, short length, and terrible boss battles.Unfortunately, said localization also rebalanced the difficulty for the worse by making the game more grind-heavy and difficult to play aggressively (since your attack energy could be drained extremely quickly by enemies) the original Japanese version is better, but still had issues in with underdeveloped levels and bosses being easily exploitable, so it isn't regarded as well as Treasure's other run 'n' guns. Unlike most of Treasure's output, Silhouette Mirage is surprisingly story-heavy, with lots of dialogue, characters, and plot depth, and a localization by Working Designs.Some of the game's DLC chapters are literally anime shorts with no gameplay more interactive than occasional Quick-Time Events. The gameplay's very simplistic and repetitive, but it isn't the main interest of the game, which is essentially an interactive Anime about an overly muscular six-armed god punching planet-sized monsters in space accompanied by Classical Music. Asura's Wrath is an example of a game perfectly aware that it is just a glorified cutscene.note That said, an argument can be made that the ENG genre is the Logical Extreme of this trope, focusing so purely on the storytelling and Worldbuilding that traditional gameplay beyond exploration is outright removed from the equation. Visual Novels, Environmental Narrative Games, and some experimental art games don't qualify for this, as there's little meaningful gameplay to start with (with certain exceptions listed below). Story-to-Gameplay Ratio matters here: just as a game must have a significant story focus in order to qualify as an example of Play the Game, Skip the Story, so a game must have significant gameplay focus to qualify for this trope. There are many reasons why this might happen: sometimes, the game might have an unusually well-constructed narrative but rather samey, unoriginal gameplay sometimes the gameplay might have significant problems, making the story superior by default and sometimes it's purely subjective taste. largely ignore the gameplay in favor of its storytelling, characters, setting and so on. Darkness took over these once magnificent halls.This is the Opposite Trope of the latter case: games which significantly feature both story and gameplay, but most players, critics, etc. Lose yourself in brand new environments and an original soundtrack. Immersive – The warmth of life abandoned the halls of Castle Rock long ago Immerse yourself in a thrilling experience as you and your partner puzzle your way through this abandoned fortress. Placed in the shoes of explorers with only walkie-talkies in hand, you are lost in a castle frozen in time. With nowhere else to go, you decide to enter this mysterious place, only to find yourself trapped inside… Will you be able to find a way out?Ĭooperative – Your voice will have to lead the way. NOTE: This game requires both players to have a working PC-compatible microphone.Īs your final hour approaches, a large structure looms up in the distance - towering above the relentless storm. Trapped in different parts of an ancient castle, only your walkie-talkies will allow you to figure out how to escape. You and a partner must solve puzzles through smart communication and observation. A new standalone entry in the We Were Here series, We Were Here Too is all about cooperative discovery, immersion and teamwork through communication. About This Game We Were Here Too is an online first-person cooperative adventure set in a fictional medieval castle.
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