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Detail-wise, maxed out sliders feel a tad lacking but the game still looks good and runs great. Bosses trigger badass cutscenes before you fight them and almost everything that you can look at is done in a very pleasant, stylistic way that stays consistent throughout the whole thing. It's sort of a more grown-up, less cartoon-ish take on Dishonored's or Borderlands 2's art style. Call of Juarez: Gunslinger is much more visually appealing than its predecessors, not only in hard graphics but in the general style and vibe as well. Notably, the plot revolves around famous personalities of the Wild West, like Billy the Kid and Butch Cassidy, so if you're a cowboy buff, there's some added value there. In true Western fashion, the story is some nonsense about revenge or somesuch but it's solid enough to serve as an excuse to shoot baddies. This is a nice touch in terms of presentation since it enables some pleasant gimmicks, such as objects or enemies being altered as a listener challenges the veracity of what Silas is saying or new paths opening up when the raconteur recalls the finer details in his tale. As the veteran bounty hunter recounts his journey, the player gets to reenact the narrative as the actual gameplay. The game opens up with Silas Greaves, our apparently renowned protagonist, walking into a bar and being bribed with alcohol by some strangers to tell a few stories about his adventures during his younger days. It's not a bad game by any means, but, when all is said and done, it's a pretty simplistic and forgettable FPS. Ubisoft's Call of Juarez: Gunslinger, much like its predecessors, is not. Whether because of the story, some innovative approach to gameplay or a unique idea, some games are memorable. I was pretty sure I had played them, but I had no recollection of what those experiences looked like, what they were about or how it felt. We stuck with the heavily armed Ben, but we expect both Eddie (with his lighter machine guns) and the Hally Berry-look-a-like Kim to get their fans as well.When I found out a new Call of Juarez game was coming out, my memory started playing tricks on me: I couldn't remember any of the previous entries in the franchise. The story changes depending on who you choose to play as, while tying it all together in a rather nifty way in the end. It's not all bad though, and the fact that you got three different characters to choose from (no matter how stereotypical they all are) is a nice touch. The musical cues that attempt to merge Old West guitar as we shoot our way through the Los Angeles' criminal underworld simply don't work. There's texture pop-ups, the collision detection doesn't work as it should, the checkpoints are few and far between and the enemies are mind-numbingly stupid. Every small turn becomes a challenge to navigate.Ĭall of Juarez: The Cartel feels unpolished. Call of Juarez: The Cartel is no exception, but which doesn't stop Techland from cramming a lot of car driving into every level. These are usually the worst parts of the games, no matter if the game is Call of Duty, Killzone or Gears of War. If there's something that's hard to get right in action games it's the vehicle sections. When we think back on how tight Bound in Blood's gameplay, we feel a tear well up in our eyes. It's more or less impossible to judge if your punches are hits or misses and mostly you just run back and forth and wave your arms in the air. On top of that, melee combat is horrible. Where we were looking forward to the next gunfight in Bound in Blood, we find ourselves dreading the next shoot-out in The Cartel. The variation from the other titles is gone, and when the shooting is mediocre the whole game becomes mediocre.
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Automatic pistols and modern machine guns are something else completely, and it feels like playing a first person shooter from the beginning of this generation it's inflexible, stiff and lacks any form of finesse.Īs a result, the fighting here isn't very exciting, which soon becomes a problem because that's really all there is. It even gave the setting an extra degree of flavour.īut when we get to shoot with modern weapons, the issue, or excuse, no longer makes sense. After all, you were firing six-shooters and old rifles and when you found a machinegun it was a hand-cranked Gatling gun - hardly the most elegant of weapons. Because of that, it didn't really matter that the controls could be sluggish and the shooting needing more heavy handiness than a canine with a red-hot poker up its rear.
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The prequels to The Cartel were, as noted, set in the Wild West.