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迷失在刺客信条valhalla的经验

在玩“assassin的creedvalhalla”时,想到的这个词是mass。这不仅仅是一个线性块storytelling. It's an experience in world-building that's designed to take not just hours or days but weeks of your life. To see everything hiding in every corner of this enormous game would take the most completist approach to gaming (and reportedly over 100 hours of your life, a number that's still reportedly 40-50 if you只要do the main story missions). And there are times when that massive scope feels truly awe-inspiring. When you synchronize a portion of the map in “Valhalla” and the camera swoops to reveal the landscape around you, there’s a vibrant sense that the horizon goes on forever and you couldn’t possibly see everything that’s over it. There is still so much of this game for me to see, and yet it’s starting to feel like the scope of the game is both its greatest asset and biggest flaw. While there are literally hundreds of encounters in “Valhalla,” many of them start to feel repetitive after a while. It’s a game one has to really devote their time and energy to, because casual playing reveals its weaknesses.

If you’re only familiar with the world of “Assassin’s Creed” as a vaguely remembered trailer for a movie starringMichael Fassbender.,你应该知道这整个特许经营权可以被称为大规模。这是一个世纪最大的最大的“valhalla”是22nentry in the series that started with “Assassin’s Creed” in 2007 if one includes all mobile, handheld, and spin-off games. A blend of stealth and melee combat made these games into juggernauts, and Ubisoft started producing them at an annual rate, even releasing companion games like “Assassin’s Creed Chronicles.” There are also mobile games and a planned TV series. Comics, toys, board games—this is an industry more than a mere franchise.

在质量方面,我至少播放了每个主要版本中的一些,这是一个过山车。对于像“刺客的信条四分之一:黑旗”等每一个真正的比赛,就在短短两年前,有一个很好的“刺客的信条奥德赛”,有一个毛茸茸的头衔(像“刺客的信条统一”)。这些游戏对于毛刺(“valhalla”与早期的比赛尤其厚)和不一致的游戏玩法,但它们也可以在其范围和野心方面超越。什么是关于“valhalla”的迷人是它的频率频率反映了这一系列的两侧。这是一个视觉上华丽的游戏 - 特别是在PS5上,负载时间非常短,但它有时会感到狭隘的任务和目标杂乱。我的建议是坚持故事 - 看看你周围华丽的世界,但让小的时间杀手遍布它仍然不完整。

“Assassin’s Creed” games have taken to building their stories and gameplay from a culture. For example, 2017’s “Assassin’s Creed Origins” unfolded in ancient Egypt; “Odyssey” transported gamers to Greek history and mythology. This installment is the “Viking Game,” a perfect fit for the action style of this franchise (although fans should know that the "assassin" aspect of the game hasn't been completely discarded in favor of axes to the face). And the developers here clearly considered the larger-than-life aspects of Viking Mythology when conceiving "Valhalla." You can’t make a “small” Viking game. And so the mountains here are massive, snow-covered creations; the oceans go on for miles; the landscape is daunting; the combat is brutal and bloody. It is a game about territory and legacy, told on a broad canvas that reflects the culture of its story.

“Valhalla” is set in 873 A.D. and tells a fictional story of what is basically a Viking invasion of England. After conflict in Norway—that takes hours before the game even presents an opening title screen—Eivor (who can be played male or female) and their brother Sigurd take their supplies and head to England, essentially taking territories as they go. Much of the first 20 hours or so of “Valhalla” consists of clearing outposts across the English landscape, building factions of supporters and enemies as you go. As you do, you’ll build your settlement, opening new sections of it in a way that feels more RPG-esque than some of these games. The game also jumps back to present day to reunite players with Layla Hassan, the modern-day protagonist from “Origins” and “Odyssey” who is technically experiencing this saga via simulation. The narrative incorporates mythology of the culture like Asgard and Odin while staying away from an obvious comparative in the “战争之神“系列。

The game that sprung to mind more often than “GoW” while playing “Valhalla” was last summer’s “Ghost of Tsushima,” a strong candidate for 2020’s Game of the Year. Both games open with brutal violence, sending their protagonists off on journeys for vengeance and control. Both games employ open-world structures with RPG elements that emerge from their cultures. Both games balance large storytelling segments with quieter mini-games like crafting a haiku in ““或参与”Valhalla“的”飞行“比赛。然而,有一个有时缺乏这里的“幽灵”的流线型凝聚力。主要和次要的任务在那里聚集在一起,而他们有时会觉得在这里填充。

但是,在它真正工作的时候,关于“Valhalla”的重复和填充的担忧。在这个游戏中有任务和设置只是令人惊叹的 - 当开发商在这里抓住的野心“大摇摆”真的还清。就像它令人难以置信的变化景观一样,这是一个令人难以置信的高点和低点的游戏,尽管前者的方式比后者更多。在4K在PlayStation 5中,即使偶尔帧速率问题,它也是有史以来最好的游戏之一。eivor附近的性质的细节很令人惊叹。你会暂停只是为了看看水上的涟漪或通过树木落下的雪。这是一个经验。(应该指出的是,音频类似地以极大的语音工作和得分实现。)

In the end, “Assassin’s Creed Valhalla” works best if you allow yourself to get completely lost in it. A quick “pick up and play” might produce a repetitive fight or two or a mini-game that feels silly. But those aspects are really only very small parts of this experience in the end, and those weaknesses fade against the backdrop of the bigger, gorgeous picture. I still have dozens of hours to spend in this world, and I’m still eager to do so.

Ubisoft provided a review copy of this game

Brian Tallerico.

Brian Tallerico是Rogerebert.com的编辑,也涵盖了兴发电视,电影,蓝光和视频游戏。他也是秃鹰,戏剧列表,纽约时报和滚石的作家,以及芝加哥薄膜批评协会的总统。

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