It’s passable at best, if I had to be charitable. Surprising no one who isn’t expecting a masterpiece here, the combat in The Last Oricru isn’t great. Normally, this is what makes an ARPG fun, the meat of it and all that. We’ll look at gear in a bit, after we’ve gotten the combat out of the way. Unlike, say, the first Dragon Age or Knights of the Old Republic, it isn’t too stat-heavy when it comes to gear and combat. If you’re unfamiliar with combat in an ARPG, there isn’t really much too elaborate to explain. So, premise and terrible dialogue covered, how does The Last Oricru actually play? Oricru-ing a Lot of Damage
If GoldKnights were on a tight budget and got their mates in, fair enough. Even the rats all have that southern droll, “Yes sir ol’ massa” vibe to them, really highlighting the slavery dynamic. Silver sounds ridiculously posh, whilst others all sound like rejects from a Fable audition. I’m sure Nolan North, Phil LaMarr and Tara Strong all started somewhere too, but they couldn’t have been this bad, surely? Even North’s “Cor blimey” Penguin accent is a far cry better than… whatever this English is here. I always feel harsh criticising someone’s performance, as this might be them trying to make their break. The problem, though, is that the writing isn’t particularly engaging and the voice acting is woeful. Silver can make decisions that will affect the outcomes and reputations of either side, encouraging the replay value of the game should players want to see all the outcomes. In one sense, it is, given the aforementioned Ratvolution and the Naboru. The brief that we were given about The Last Oricru was that it is a “multi-pathed narrative adventure”. It reminded me somewhat of Little Big Adventure, as I didn’t know what was going on then either.īut back then I was younger, whereas now this is trying to be too diverse with its plots. Oh, then the Ratvolution (their words, not mine) kicks off again and we travel to a fortress. Then there’s the Queen and her army, come to thwart the monastery. First, there’s the human-like Naboru and the rat-folk, who has a slave-resentment relationship going on. Very on the nose and not-subtle way of throwing the repetitive ARPG mechanic into story, game.Īfter being dubbed “Silver” by one particularly grumpy monk, we’re given a few plotlines to get our heads around. Well, you can, but you’ll come back to life. You then wake up in some ancient monastery, where it’s explained that you can’t die. P Tagonist, awakening in a cryopod as a Necron from the Warhammer 40K universe stabs you. But I’ll try and lay down the basic gist, at least. The problem is that even after hours with The Last Oricru… I’m still a bit lost with it. This is normally where I’d summarise the story of a game, albeit trying not to spoil it and hook you, the reader, in. Like Redwall meets Planet of the Apes, for odd comparisons.ĭoes it hit the mark, fitting in amongst the ARPG annals, or should it be the last attempt at this kind of thing? Bear with me as we try and untangle this mess.
The Last Oricru is different, trying to mix a science fiction mystery with a fantasy story about warring humans and anthropomorphic entities. Yet that was guns and sci-fi based on old fables, as it were. Oh sure, we’ve had a theme blend like this before, if anyone had forgotten Too Human. But until The Last Oricru came along, we’ve not really had a blend of the two. The sci-fi gamut has had The Surge and Hellpoint, to name but two. There’s been the medieval/fantasy with Dark Souls and Lords of the Fallen, with others in between. When it comes to action RPG’S, we’ve had a pretty broad spectrum of worlds and settings to get used to. An action RPG that offers a multi-directional story, does The Last Oricru do much else, or is it one to be forgotten? The Finger Guns review:
0 kommentar(er)
