| Project Snowblind review |
|
When Halo 2 finally arrived in 2004, many were shocked by the direction it took. Instead of focusing on the heavily presuggested street-fighting exploits of the Master Chief as he defended Earth against invasion, the game took a much different path by spending minimal time engaging the player in urban warfare. So when Project: Snowblind appeared on the horizon it seemed that some players’ prayers might have been answered.
Project: Snowblind starts in 2065 when Hong Kong finds itself turned into a war zone, host to a conflict that threatens to escalate to global proportions. Enter the player as Nathan Frost, a peacekeeping soldier who early on in the course of the game finds himself on the receiving end of a high-powered explosive charge. Brought back from the dead by the miracles of 21st-century medicine, and in Six Million Dollar Man style, Frost is bio-augmented with the latest technology and sent back into the battlefield.
Befitting a game set in the future, Project: Snowblind revels in its sci-fi theme with some nice innovative ideas. Alongside its standard array of shotguns, pistols and carbines, the player has access to more unconventional weapons such as the Kinetic Kicker (which can be used to push and pull objects around), and the Ice Pick (used to hack security consoles and gain control over enemy robots or weapons stations). Later, even simple run-of-the-mill explosive ordinance is joined by EMP grenades, Spider Bots (which can be used to seek out and zap enemies) and other nonconformist offerings. Sadly, despite all the choice, Project: Snowblind’s weaponry doesn’t feel like it packs much of a punch, even when filling the enemy with hot lead or blowing them up. Instead it all feels oddly muted and airy with little substance.
As a direct result of his bio-augmentations Frost is able to gain the upper hand in combat against his enemies. These skills include limited Ballistic Shielding, and even the ability to see enemies' heat signatures through walls. Typically, these augmentations are powered by fuel cells which need to be replenished, meaning the player isn’t an overwhelming killing machine and some challenge still remains.
It is the combination of the large array of weapons and bio-augmentations that forms part of Project: Snowblind's biggest asset. Straight away the game gives the player a number of tools to get to grips with, allowing them to tailor their playing experience. While some parts require gung-ho, all-guns-blazing tactics, others allow the player to use stealth and avoid alerting guards who would otherwise call for reinforcements or hit a switch activating the nearest weapons turret. Thankfully the option is still given to the player to go in by the `kicking arse and taking names` fashion, albeit ultimately making things harder for themselves.
The level design also plays its part, making it clear when stealth is a viable option. Levels include confined warehouses and tight corridors where enemies are sparse and the possibility of multiple routes arises. Other areas are made to feel deceptively larger than they actually are such as the open-air city streets where enemies are plentiful and stealth is obviously not a viable option.
Combat is a hectic experience, particularly when the Coalition's A.I.-controlled squad join the player in the fray. Unfortunately one of the game's biggest faults is the enemy A.I. There are some impressive moments where enemies will run for cover or, when outgunned and their teammates slaughtered, head for cover whilst laying down suppressing fire. However for every truly impressive moment there are more than a handful of occasions where the enemy seems to have been lobotomised. It’s not uncommon to see enemy soldiers standing idly by as the person they’re talking to is blown away, or to even carry on regardless while one of their comrades leads the heroic (but futile) charge towards you in `Charge Of The Light Brigade` fashion. More often than not the challenge in the game comes from the number of enemies onscreen, rather than their proficiency in combat.
In terms of visuals the game is a mixed bag. Parts of it simply shine, such as the opening section with the pretty cherry blossom courtyard, or the weather effects, lighting and reflective puddles. Some textures are hit and miss but it’s the character models that often noticeably let the side down with some chunky and clunky-looking people on display. Overall though the enemy sprites are well animated (even if the rigid death animations become tiresome very quickly), with the poorer models usually being evident during the non-action sequences that intersperse the firefights (perhaps due to the player having a greater opportunity to stop and get their bearings).
These Half-Life train ride-esque sections are aptly handled, providing a nice break to the action and pushing the story forward. However some of them do feel a little forced and it’s not uncommon to see glitches like a medic tending to someone’s wounds, but with their hands hovering a few metres above the injured persons body. Naturally this tends to break the immersion factor somewhat.
Project: Snowblind was originally scheduled as a chapter in Warren Spector's world of Deus Ex, only having its ties severed in the closing stages of development. The game's lineage is clear throughout with the inclusion of bio-augmentations, limited object interaction, and a smattering of non-linear level navigation. While the main ingredients are all there, the final product certainly feels less than the sum of its parts, resulting in a distinctly hollow-feeling and average game. While not wholly undeserving of anyone's time, it’s certainly a "try before you buy" title or one to pick up on budget for those rainy afternoons. |
|
|
|
|
|
|
|
|
|
|
System: Microsoft Xbox
Genre: First Person Shooter
Developer: Crystal Dynamics
Publisher: Eidos
Players: 1
Version: United States
Reviewed: Jun 2005
Writer: Jamie Davies
|
Pros:
- Innovative weapons and doohickies
- Hectic fire fights
- Some immersive moments
|
Cons:
- Poor A.I.
- Rough around the edges
- Visuals and character models can be poor at times
|
|
|
|
|
|
