TimeSplitters 1 (2000) feels like a tech demo compared to 2

My memories of TimeSplitters go back to Gamecube, on which I played the second game first. I was a big Goldeneye fan, and I knew it was developed by the same developers, so I erroneously assumed it was a Rare game. It’s kind of a shooter that isn’t made anymore. A thinking man’s FPS where you are supposed to think about actual objectives than watching some minicutscenes and blasting the enemies. That game got too tough that I never beat it, so I’m thinking about replaying it for the later. I did wonder what the first game was like, and for a while, I assumed it was more or less the same as 2.

I played TimeSplitters 1 recently with the mouse and keyboard set-up, and I have complex feelings about it. The game that reminded me most of was Monolith’s Contract Jack. Perfect Dark has been frequently compared to No One Lives Forever in the same year for being a female superspy FPS and having very similar mission design. Contract Jack was a spin-off of No One Lives Forever 2. That game was essentially a glorified expansion that strips down the narrative, complex mission design, level design, atmosphere, but only featured “shooting”. It’s an amateurish-level production that it almost feels like a mod at times. Time Splitters 1 feels like that to TimeSplitters 2.

The core Goldeneye developers left Rare during the production of Perfect Dark and created their own studio, Free Radical Design (which became part of Crytek later). This resulted in Perfect Dark turning into a development hell, where the project was generally helmed by the newbies. Free Radical Design was in the midst of a development hell as they tried to make Second Sight, but got rejected, and the team had to scramble together a Goldeneye successor within the small budget and little time, resulting in TimeSplitters. And it shows. There is no narrative, no objective but “take this thing and go to this circle”, no cohesive vision. It appears they just inserted “Time” into the title because they created a bunch of different themed maps, but had to make a connection by slapping a time travel concept. It feels like a TimeSplitters 2 user map.

At the same time, I appreciate the arcade purity of the game, which no longer exists in the industry but the indie scene. It’s a game you can beat in an hour. It’s simple, but you are supposed to replay the missions on the varying difficulties for the multiplayer unlocks. It’s hard to think a game like this even being published on the AAA scene anymore, good or bad.

For a while, I didn’t mind it because the core gameplay was fun. I don’t know exactly what ticks, but the gunplay in Goldeneye, Perfect Dark, and TimeSplitters just feels great. It’s hard to describe. It’s smooth and addicting. Just shooting a machinegun feels good. It’s something that the other console FPS in the era couldn’t capture. Just compare it to the Bond games like Agent Under Fire and Medal of Honor, and although those games had more advanced elements, the raw blasting sensation of TimeSplitters is unmatched. The presentation, despite being clearly low-budget, is great. It’s nothing comparable to the sequel or even Goldeneye, but the stylized aesthetics still hold up, creating that the PS2 vibe that no longer exists. It goes a long way to have a great soundtrack complementing the different themed levels.

So, whatever. It’s a good shooter. Goldeneye without the mission design, and if the gunplay is good, it should be good. Right? I thought that way for the first two levels… then the cracks begin to show fast. This game is insanely difficult. I played it on Normal, and even with the mouse, I eventually had to crank it down to Easy because this game just straight-up bullshits the player. The more I play, the more I realize how much the core combat system is flawed.

In Goldeneye and Perfect Dark, the enemy reaction time is quite generous. If they find the player, they shout something like “I found her!”, alerting their presence to the player, and position to fire for a second, giving the player a choice of whether to be offensive (shoot first) or defensive (take cover). They are also stationary when they attack, sort of like a tank. When you shoot them, they get stunned for a few seconds, unable to fire. Their attack is clearly telegraphed and easily avoidable if the player is mobile enough. It’s supposed to encourage the player to build a constant momentum and move around.

TimeSplitters 1 doesn’t do this. The enemies 1) instantly fire with a few frames of “raising weapons”, 2) move while firing, 3) stay silent when detecting the player, 4) sometimes get stunned when hit, or sometimes just ignore the hit and fire at the player, 5) are long-ranged with high accuracy, so they do not charge at the player, 6) ambush the player, whether they suddenly come out of cover or pop out in thin air through teleportation.

In addition, the player has no invincibility frames. What happens is that I cleared the room incredibly carefully, then some guy suddenly spawns and jumps off from the high floor and blasts me with a machinegun, cutting down my entire bar of health in one second. It’s absurdly cheap, and the only way you can even some encounters is for the player to memorize the levels through trial and error, rather than testing the player’s skills.

Combine that with the limited health pick-ups, the game often becomes a frustrating mess. The combat isn’t fundamentally balanced enough. It results in the player doing pattern memorization and knowing which enemey is in what position. Like, I don’t see how anyone can even beat this game on Hard with the controller unless they memorize literal frame-by-frame patterns. Goldeneye already solved this issue on N64, only for TimeSplitters to backroll all that elegant game design to make the combat a mess. My guess for why they designed the combat like this is because either they didn’t have enough time to test it, or they intentionally made it punishing to compenstate the short playtime. At least, I don’t remember TimeSplitters 2 being this bad, so they surely fixed it.

The animations also feature the similar problem as Goldeneye and Perfect Dark, but worse, where the enemy death animations are too muted. The deaths are not exaggerated enough. They touch their arms, then three seconds later, collapse. It results in the player wasting their ammo on the already dead enemies because their deaths are unclear. Sometimes, the stun and death animations are so indistinguishable that oftentimes I was killed by enemies that I thought I had already killed.

Despite the diverse themes, the actual enemy designs are exclusively two humanoid types: shooters or melee chargers. That’s it. No matter where it takes place, it’s the same. Even the weapon design is disappointing, with the weapon roles overlapping and repetitive. For example, there is a space level where you fire laser guns at the aliens. You then actually play it, you realize all the alien enemies are identical to the human enemies, and all the laser guns are identical to the normal guns. Compare it to Perfect Dark, where despite having dozens of weapons, each weapon serves a unique purpose with the weapon role and the secondary firing.

If you play it on Easy, it is at least tolerable, so all those design flaws aren’t as bothersome. It’s a unpolished shooter that’s fun on the primitive level, but not something the speedrunners would replay it over and over because it fundamentally lacks depth compared to Goldeneye and Perfect Dark. I enjoyed it enough, but I recommend just skipping it to the second game.

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u/onex7805 — 4 days ago

Do you think the concept of an entire galaxy-wide Republic existing for 25,000 years lessens the worldbuilding potential of Star Wars?

This is something that came to my mind after seeing fans continually talking about how they want Star Wars to take place in a new era. I do agree with it. I would like to see them explore a new era of the Star Wars universe.

At the same time, it is difficult to actually make a canonical story set in a new period when the galaxy saw nothing but two distinct periods for most of its history. For a thousand years, the galaxy was largely at peace and saw very little war. There is a reason why the High Republic multimedia project is not all that interesting, since that period is supposed to be the uninteresting, stagnant time. That's the thematic point.

Beyond that, you had basically one unified faction that is the Galactic Republic, reigning for 25,000 years, fighting occasionally against the Sith, and it all had the very well-established Star Wars conventions and iconographies. There was one upheaval called the Ruusan Reformations that restructured the Republic, but it is still the same continued civilization with the same ideals. KOTOR2 does delve deeper into the creative, unique edges this period can provide, but The Old Republic later demolishes it, making that Sith War era more generic. The chronology before the Prequels is quite well established at this point, which is that it is still largely the Republic backed by the Jedi versus the Sith Empire.

Star Wars is a very American mythology for a reason, which is about one superpower that is at the center of the world, concerning its stable liberal democratic norms, with a daily life that mirrors the modern world. The Galactic Civil War doesn't feel like a revolution, but a mere restoration back to the norm. Even the technology level remains unchanged, limiting the potential for how new technology can shape political, social, and economic revolutions. Star Wars draws an obvious parallel from Ancient Rome, but without the same level of dynamism that makes Roman history interesting. Compare the history of the Galactic Republic to something like the dynamic, mysterious, wondrous nature of Legendarium, Westeros, Dune, and Legend of the Galactic Heroes, where each era feels like it's reinventing itself with the interesting power dynamics.

That's the past. Looking beyond the post-Original and Sequel era, you have no potential. It returns to the same status quo: the Republic returning again, backed by the Jedi Order again, destroyed by the Imperial Remnant backed by the dark siders (not "Sith"), then the Rebels winning again, the Republic returning, backed by the Jedi Order again... So, let's say you want to make a Star Wars Game of Thrones or Three Kingdoms spanning across feudalistic dynasties (remember D&D's Star Wars project?) that many fans want to watch... You can't because there is no room for that in the Star Wars chronology. Every period of history, you just have the Republic + Jedi being the good guys who are in charge, and the Sith being the bad guys.

There is a reason why Star Wars: Visions is treated as non-canon. They don't fit into the Star Wars canon at all, but that's why it is able to put forward pure unfiltered creativity and expression, free of the shackles of the Canon and conventions. The episodes feel larger than life. They delve into the new territories. They tackle different genres. They are created with a certain "vision" and culture. Each episode has an ethereal, cerebral sense to the whole thing, as well as an exploration of the heightened emotions and themes.

Do you think the same, or is there a way the creators could branch out and experiment with the eras and powers while still being canon?

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u/onex7805 — 13 days ago

Flawed games that actually deserve a remake (not a remaster)?

In light of The Legend of Zelda: Ocarina of Time remake, which appears to be almost faithful but with the Unreal Engine-like graphics, whatever it turns out to be good or bad, to me it loses the value of Ocarina of Time regardless. Nintendo is put in the impossible position because there is no real way out. If they change things, the fans will hate it. If they are too faithful, it's pointless. To a certain extent, Ocarina of Time is basic and outdated now, but that's more of a reason to just make a new game, much like how A Link Between Worlds started as a remake of A Link to the Past, but became a sequel inspired by it.

My qualm with the modern video game remakes is that they appear to only happen to the revolutionary classics of the medium, like Halo, Max Payne, Tomb Raider, Silent Hill 2, KOTOR, and Demon's Souls. These remakes are made and solely relying on the cultural capital the originals had, instead of whether they actually deserve a remake or not. It doesn't help that they often position themselves as replacements, so the audience wouldn't have to touch the original, and getting it right is rare. They are always a huge franchise with a huge fanbase, which means there are inherently certain expectations the fans have and the remakes have to abide, which limits creative liberties. In addition, the purpose of these remakes is mostly about upgrading the graphical fidelity, so it requires a massive budget and time, which means even if it succeeds, it has to be a massive financial success.

When you are playing landmark classics like Ocarina of Time, you are not just playing for fun, but playing it for the cultural significance. You are experiencing a piece of gaming history. It's the same reason why you watch the original Psycho over the 1998 remake. If Psycho were to release today, it would be considered just a "good" slasher in the sea of scarier, more shocking horror films. The movie is quite tame and has some cheesy, outdated elements. Yet Psycho is still considered one of the best in the genre because it made those scarier films possible to come out. People still watch it, not because it's the scariest film of all time, but because of its place in the cinematic history. It's the same reason why you read Homer and Shakespeare in school, which is to learn about their placements in culture, philosophy, history, etc...

No one tells you to watch the Psycho remake over the original just because it feels more modern, has more blood, more effects, and has colors. Even if it is the 1:1 remake, you are missing the point of why you experience a classic. It's why it's recommended to watch the J-Horror classics over the Hollywood remakes, not at least until you've seen the original, because you are appreciating them within the unique cultural context. Art is reflective of its environment. It's about experiencing communication and expression from the creators. Even if it's 1:1, playing the remake and the original are not the same thing. If you watch The Lion King remake and think you've experienced The Lion King, you didn't. The most fans agree Silent Hill 2 is the uniquely lightning-in-the-bottle that cannot be created under any other circumstances. The remake's "polishing" jobs polished off the bizarre whimsiness of the OG, and it's a lesser experience for that. It's like remaking Psycho or Ringu to have it be in color or the modern Hollywood aesthetics because even though the story might be the same, the remakes lost the merit and value the original had.

Is Ocarina of Time outdated? Yes. Has Ocarina of Time been done better in the other games? Yes. But they were possible because so many different types of games took inspirations from Ocarina of Time. Because of OOT, we get a lock-on targeting, 3D openworld, 3D puzzle design... Without OOT, we have no GTA3, no Demon's Souls, and no most of the map-based exploration and puzzle-heavy action adventure games, reaching God of War 2018. Even the modern Tomb Raider arguably shares more similarities with Ocarina of Time than the original Tomb Raider. It's nice to realize where all of them originated from. By playing them, we are feeling of being more literate and knowledgeable about the important pieces of the gaming medium and culture. Much of the appeal of these classics relies on the value of being pioneer and the technology of being the early 3D games in the respective genres.

It is why the much more interesting remake is when they remake a flawed game with potential. The games that actually deserve a second chance to execute the unrealized potential with today's game design and technology. It is the reason why I'd have preferred a remake of Silent Hill 4 over Silent Hill 2, and Code Veronica or Dino Crisis over Resident Evil 2, Uncharted: Golden Abyss over The Last of Us, and Portable Ops over MGS3.

Yooka-Replayee is a great example of this. Instead of "the game good, therefore there should be a remake", it happened becuase of the opposite reason. The original failed at its initial vision set forward and disappointed a lot of backers. It had something great, but was plagued by horrible gameplay issues, so they wanted to fix it and do it better. Instead of graphical fidelity, updating the gameplay was the goal. They looked for the mid-budget success. The nature of the game and the remake was more financially viable since it doesn't require creating life-like visuals.

It's also why I don't really mind about the upcoming Killzone remake because that's the series that failed to be a Halo killer. It sold well, but it didn't have a following, so it doesn't have a burden of fan expectation that the remake developers have to abide by. The first game in particular is mediocre, so whatever the developers change, it can only improve what was flawed. The same with The Witcher 1.


I've already written about the games like Metal Gear Solid: Portable Ops, Code Veronica (now happening), Metal Gear Solid 3 (now happened), Alpha Protocol, Silent Hill: Shattered Memories, and Uncharted: Golden Abyss. To throw in more candidates:

Star Wars: DroidWorks Remake

The original was an educational physics-based puzzle game that lets the players build droids to do certain tasks and create a droid that will infiltrate an Imperial droid factory on the planet Tatooine, where assassin droids are being constructed to destroy the Rebel Alliance. The player starts in a Jawa sandcrawler and can choose from 87 robotic parts to make over 25 million droid combinations. Each droid part would have unique properties that could be added to the droid to make it faster, stronger, more flexible, or capable of speech. Many of the parts are acquired by finishing the above-mentioned tests and maneuvers.

It was a fascinating game, and I highly recommend checking this video out if you want to know more about it. The original was let down by the technological limitation of it being a 1998 3D game, and the remake would solve so many problems with it.

Dead Space 3

I wrote about how the series should have changed its protagonist after Dead Space 2 because Issac is simply too powerful at that point to make any attempt at horror laughable. I wrote down detailed rationales for retiring Issac there, so I recommend reading it if you wish to know more.

I prefer a remake of Dead Space 3 that moves onto new characters within the same universe and fulfill its initial horror-focused vision that EA rejected, or even be a completely different game. They are civilians who can't handle a real weapon at all, whether they are a teenage girl, some grandpa, or someone with disability, but they all have gimmicks that allow them to overcome the challenge, much like Isaac with engineering skills. By doing so, it allows the different gameplay quirks to center around.

For example, if you are a miner, you make a destruction system like blowing up the walls and buildings like Red Faction, and that could be an interesting gimmick for a survival horror to center around. Dead Space already centers physics as a core gameplay element and puzzle, so go nuts with that. For another example, the protagonist is a young teenage girl, so make stealth the core gameplay like Alien: Isolation.

Meanwhile, because the character in each installment is different, the way to progress the series is to advance the worldbuilding, revealing something new about the Marker, Unitology, or the government. You can even make a prequel game centering on Michael Altman, adapting Dead Space: Martyr. All the while, the Marker serves as a psychological horror element to bring out the psyche of the characters as they go through the personal hell.

This opens the series up to so much possibilities in both narrative and gameplay-wise, much like Resident Evil and Silent Hill. If EA wanted that COD and Gears audience, in one game, you get an action-heavy Dead Space where you play as a soldier. In the other game, it swings hard to survival horror. It can even change the genre. If it's bad, it doesn't destroy the franchise lile DS3 did because it's episodic.

The newcomers are happy because each game is a standalone game that they can jump right into without playing the previous ones (like how the newcomers can jump straight into RE7 or Silent Hill 2). The old fans are happy because it is expanding the lore and world, while happy about a new game to play. If they don't like the different vibe and gameplay, they can ignore it since it doesn't interfere with the games they like. It's a win-win. The point is that by not forcing to bring out Isaac out of the retirement, Dead Space can be an actual franchise, appealing to the vast demographics.

Halo 4

Another idea I flirted about the post-Halo 3 not having Master Chief, so I recommend reading that post for the details of my proposal.

Rather than Halo CE, Halo 4 is the one that would benefit the most from a remake. In terms of pure core gameplay and mechanics, it's easily the worst in the series, and the story was the original sin of bringing back Master Chief. Leave him still floating around space. Write anew back to that point with a new protagonist. Scrap everything after and reboot 4-6.

Resistance: Retribution

Despite shifting to the third-person perspective, Retribution feels like a proper Resistance game. the general feel and aesthetics harken back to Fall of Man with the dark black-and-white visual direction and the narration-heavy storytelling structure. Tonally, it is hopeless and grittier, contrasted with the colourful and overly flashy Resistance 2.

However, Retribution does feel like it was cut short by the PSP hardware limit. The movement is sluggish. I am not talking about how the controls feel sluggish. I got used to the controls fairly quickly. I am talking about how the player moves slowly, cannot melee, cannot jump, and cannot crouch. Instead, the player melees the enemy automatically when they are near and crouches automatically when there is a cover nearby. This is the game perfect for some rolling and diving mechanics to evade projectiles. There were so many moments where I noticed the projectiles firing at me and moved the player accordingly, but the player movement is so limited that they still hit me anyway. The swimming is particularly awful due to how slow the character is. Often time there was no way I could evade the projectiles underwater, and this made the second-last boss fight horrid.

For a cover shooter, the cover mechanic is entirely contextual. There are multiple moments where I tried to take cover from a wall, but couldn't because the designers didn't program the player to attach to that wall. This limits the number of gameplay scenarios because it feels like the cover mechanic is designer-sanctioned. And this "designer-sanctioned" mantra continues throughout the entire game.

Retribution's moment-to-moment combat dynamics are entirely railroaded and every level is designed as a corridor. The combat scenario is designed as one beat, and then proceeds to the next beat. You find a room, and that room is locked in isolation where the enemies spawn, and there is one cover, and you use that cover, hide, and pop out and shoot. There is basically little to no alternative route, so the player cannot flank the enemies or go around. There is no combat "arena" in a meaningful sense. Even a lot of the cover shooters tend to at least focus on the player movement, but here, the combat is just so stationary that I felt I was playing a light gun game. Retribution's settings don't like large-scale warfare when most of what I see is only six enemy NPCs spawning in one place to ambush the player, then die, go to the next area, then another round of six NPCs. On rare occasions, there is only one friendly NPC accompanying the player.

I contend that all these are due to having to make a map fit into the limitation of the PSP specs. I can easily imagine this game to be remade as PlayStation's response to Gears of War since, after Uncharted was gone, they don't have the similar cover shooter franchise. Resistance was already considered a Gears rival since its inception, so this is a natural fit. Bend has shown they could make a good cover shooter with Days Gone, where the entire environment can be potential cover, which leads to more opportunities for varied combat scenarios.

Resistance has always been a linear shooter, but they could remake it like Resistance 1, which had a fairly big map where every level was designed like a flexible combat arena. It isn't really openlevel in the same way Halo was, but the map was still large enough to encourage some exploration, maybe going into the optional places for resources and secrets. Resistance 3 was smaller and linear, but it was never handholdy. Even Resistance 2 had some epic open battlefield that would make Call of Duty games pale in comparison. These games are all about movement, and the projectile-driven gunplay enhances that, which could potentially make Resistance stand out from a hitscan-focused Gears.

At the same time, the scope of the game is quite big, even bigger than Resistance 1. The game is long, the story is about jumping between various European countries to take down these massive alien forces. The game ends up biting off more than it can chew. I do think the game would have been better if it focused on a smaller scale to create what it feels like to be a "resistance." Instead, the story is an excuse to string a bunch of random levels.

Star Wars: Lethal Alliance Remake

Created by Ubisoft, Lethal Alliance is an amalgamation of Tomb Raider, Syphon Filter, and Prince of Persia. Set between Revenge of the Sith and A New Hope, in which the player assumes control of a female Twi'lek mercenary sabotaging the Black Sun and the Empire, working for Kyle Katarn and stealing the Death Star plan. What you just read above sounds like an incrediblely fun game. Ubisoft's Star Wars Tomb Raider + Prince of Persia.

Unfortunately, imagining what that premise sounds like is more fun than actually playing it because I was so bored that I couldn't even finish it. This combat is the most barebone lock-on shooting I have ever played. 90% of the game is just automated lock-on shooting, while 10% of the game is the "platforming" where all the ledges are pre-destined contextualized QTEs where you tap O mindlessly and cannot fail. Tapping O to dodge, tapping X to shoot... repeat. Go to the next area. Do the same thing again. Tap the triangle so your droid can help you fight. Go to the next area. Repeat. Positioning? Strategy? Moment-to-moment considerations? Don't think about that. Your movement is so fast and unrestrictive (analog movement), and dodges are so OP (you can shoot while dodging, and won't get hit at all). Your gunshots are so accurate that you hit the enemies from the vast distance. I was playing on Normal, and I died in this game only one or two times because of the Frogger segment, where I got hit by the speeder. Playing it on Hard wouldn't help because the combat is fundamentally unengaging. The levels are so linear and straitjacketed that it is fundamentally just a series of shooting galleries.

If they were going to make a poor man's Syphon Filter, I wonder why they didn't make the Star Wars Splinter Cell--Ubisoft's own IP. There is a few segments where you can do stealth and do takedowns, but it is added like an afterthought. The portable hardware can't render many enemies and large areas, and the player is supposed to be a non-Force user Rebel spy, doing espionage... and why not make her Twi'lek Sam Fisher?

This is the type of games that actually need a remake or reimagining because the game is bad, and the better, more modern game design could realize the initial premise. A spy action Star Wars sounds fun in the video game form: Lara Croft meets Solid Snake. Why not repurpose the cancelled Splinter Cell remake into this? There is a game that is worth remaking here, scratching that non-Jedi Star Wars game itch.

Silent Hill 4

Silent Hill 4 is the most commonly-requested Silent Hill game to be remade because it's the one that feels most unfinished, with unrealized potential. The only one where jankiness felt like bugs than features. Bloober might do a good remake of Silent Hill 4. Its style and horror are their forte (the first-person set pieces) and whatever they do with the gameplay it would be an improvement (the combat...).

God of War Origins games

I feel Ready at Dawn deserves a second chance after The Order: 1886 because I liked their PSP spin-offs of God of War. While they may look like throwaway cash grabs, they play quite a central role within the series, filling the missing links between the main installments and developing Kratos's character further.

Ghost of Sparta is the one with the direst change in the story. The plot concerns Kratos's journey to find his long-lost brother, Deimos. Kratos finds him and they fight for two minutes and unite together to fight the real villain. So, it is basically Uncharted 4 but done poorly. Considering how the game keeps showing the flashbacks, I expected something more to their relationship. Something more genuine and shocking, maybe Kratos has done an unforgivable deed to his brother or vice-versa. No, Kratos was just mean to him. What is so jarring is that Deimos gets introduced in the third act and dies 15 minutes after. Uncharted 4 showed Nate journeying with Sam for most of the game, so when an emotional climax in their relationship hits, the player also feels it. In Ghost of Sparta, there is no time to get to know Deimos's character. The story would have been far stronger if the game had Kratos journeying with Deimos from the second act, interacting with each other, and expressing their remorse and guilt.

Also, the plot really feels like a filler. Atlantis' destruction feels meaningless and has no bearing on the overall plot. King Midas is in the story and he does... nothing. Locations feel like they were loosely connected to each other with no cohesiveness. There is no moment that sticks out of my mind after playing it, except for the moment when Kratos meets his mother again. A lot of integral story details were locked behind the post-game bonuses, and I have no idea why they did this.

I imagine the remake blending God of War 2018's free camera and world exploration and meshing them with the spectacle fighter combat design with the fixed camera. And have the player accompanied by Deimos to build their relationship.

Mirror's Edge

One of the unappealing aspects of the stealth genre to the mass audience is the player movement. In most stealth games, the player character controls are slow, sluggish, and restrictive. The sneaking involves constant waiting and patience, with the player approaching deliberately the guard's behind, or staying in the corners until the alert is gone. For experienced players, this is enjoyment. For the casual audience, this is bore.

I believe the early Assassin's Creed games had the potential to remedy this old genre quirk and explore the new type of stealth, but the goal of the series was hindered by many other conventional video game elements, like the dull tailing missions that force the player to walk around someone for five minutes, the crowd stealth, combat so easy that the player can kill everyone in the surrounding area, and a lot of hiding. They block the pure joy of acrobatic stealth. Dishonored aimed to be the "fast Thief" but it still followed the old stealth genre conventions. Both games require little skill to execute parkour moves since the platforming gameplay is mostly automated.

Because of this, a stealth assassin game with the player's movement and the level design of Mirror's Edge can work. Mirror's Edge games have the most immersive, elaborate, and rewarding platforming gameplay, but the rest of the gameplay outside of this core control movest has been somewhat empty. The first game was a highly scripted, railroaded A to B experience hindered by the narrative, QTEs, and the restrictive level design. Catalyst was the full openworld filled with unnecessary RPG elements that seemed as if only there because the developers were concerned with what focus-tested well. There is no central idea to the game besides the parkour.

Mirror's Edge should have been a stealth game, in which the player does not need to hide but has to move constantly. The player's footsteps do not make noise, which encourages the player to always run even when the guards are nearby. You get wide, vertical, interconnected levels where the target is, just like the player, a runner, who is surrounded by guards and other various obstacles. The player has a knife, which means the player has to get very close to the target to assassinate, but there will be no combat system against the guards. Some guards are the gun-wielding types who are slow and generally stationary. Some are the runners with melee weapons just like the player, and the helicopters or drones. During the undetected state, the player can perform takedowns through kicks and jumps without these moves being locked-on animations that take seconds. When detected, the player can shake away the alert mode by outrunning them or has to chase after the target. It focuses on the simple gameplay of the fast, liberating platforming working together with the light stealth gameplay, which can create an emergent experience.

u/onex7805 — 1 month ago

If LucasArts made a Star Wars point-and-click adventure game like Indiana Jones?

Isn't it weird how there were a ton of Star Wars games tackling various genres, but there was one genre missing: a point-and-click adventure interactive fiction... which LucasArts was the pioneer of.

These are the games essentially the early "cinematic" and "narrative" games, born from Lucas' belief that video games are the extension of visual stortelling like cinema. They were not averse to tackling the movie licesnse since they made the two immensely popular Indiana Jones games and even turned one of Steven Spielberg's scripts into a game like The Dig.

[There was a reason](https://boards.theforce.net/threads/why-were-there-and-still-are-no-star-wars-the-adventure-game-from-lucasarts-or-any-video-game-company.50062363/#post-59462049). Lucasfilm contracted the Star Wars IP to the other studios, but prohibited LucasArts from making Star Wars video games. That contract was expired after X-Wing, so there was a plan to make a Star Wars interactive fiction, "Star Wars: The New Emperor", which had C-3PO investigating the Imperial remnants, but it was cancelled due to the company's focus being diverted to the massive production of Grim Fandango. When Grim Fandango flopped, it effectively destroyed the point-and-click interactive fiction genre, thus killing any chance of making a Star Wars game in that style. It was the unfortunate combination of contract and bad luck that destroyed the chance of making a Star Wars adventure game.

Star Wars: Eclipse could have fulfilled this interactive fiction niche, but instead of a cinematic choose-your-adventure Star Wars game that everyone dreamed of and Disney hyped up, Quantic Dream diverted all those resources, time, and focus to a live-service MOBA.

If I were to envision the LucasArts-style adventure game, I'm thinking of [a comical take on Star Wars in the vein of Tag and Bink.](https://www.youtube.com/watch?v=TXxPGUW\_7OA) Not as spoofy as that comic, but focusing more on the tongue-in-cheek aspect of the universe. The low-life, downtrodden story that focuses on what would be considered extras in the films.

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u/onex7805 — 1 month ago