The release of Crysis 2 is making us look back on Crysis in a whole new light. Find out why in our latest Great Gaming Memory.
We’re going to try and keep these gaming memories coming pretty regularly, and the real challenge around that is how we sort through what is, effectively, about 50-odd years of combined gaming in the office crew.
Today’s memory, though, is more inspired by a modern game, that’s made us look back at an older title with a whole new viewpoint. We’re looking at Crysis, Crytek’s graphically intense shooter from 2007. Most people know it more is a benchmark than a game, and it’s commonly been looked down on in terms of actual story in gameplay. The Gods of Gaming know we certainly have, but after playing Crysis 2, we’re not so sure.
There’s nothing wrong with Crysis 2, let us say that first (and you can read our review in issue 124), but one thing we will say is it’s a perfect example of console hardware limitations utterly changing the way a game can be made. In shirt, you simply cannot make a game like Crysis work on a console. It’s too open, and the limited memory bandwidth on consoles makes streaming that kind of world too big an ask. Which is why Crysis 2 is much more linear in its world design.
It was during a conversation between myself, John Gillooly and our video guy Josh that we all started to realise that Crysis 2 has actually really changed the way we look back on Crysis. There’s no doubt, the game had its flaws, but suddenly we appreciated that open world a lot more. So many of the game’s greatest moments came from that open structure; that ability to look at a simple mission (get into a base, get the widget, leave), and then execute it how you wished.
If there’s one thing that we, as game journalists, really respect in a game is when you all get together to chat about your experiences, and each one is unique and different. Crysis did that; Crysis 2 will not, nor can its structure ever give players those kind of emergent experiences.
And that brings us to our latest Great Gaming Memory.
So there’s a mission in Crysis where you need to get across a whole swathe of the island. You’ve got a boat nearby, and during your travels you have to evade an armed helicopter. Nothing too groundbreaking, sure, but we really messed it up. If memory serves we totally stacked the boat off a waterfall about six seconds after kicking its engine into gear.
(And yes, we suck at any driving portion of any game!)
A lot of games would call that a mission fail, and you’d have to reload. Not Crysis; it simply leaves you stuck on a riverbank, still needing to cross what seems like miles of steaming jungle to get to your objective, while also avoiding the chopper. And you’ve got no missiles.
Of course, we could have loaded a previous save, but that didn’t seem in the spirit of the game. So we walked the distance.
Well, walked isn’t accurate. We dashed from tree to tree, boosting armour and speed where necessary, hiding while we recharged, and we waited a lot; waited for that damn chopper to get to just the right spot so we could repeat it all over again. It took hours of game time to get to a point where we could evade the chopper (I can’t even remember if I blew it up or not); there was even one point where we had to get around a bridge across the river, and it was guarded. On the boat, you could have blinked and missed it. On foot, with the chopper overhead, it was a serious challenge to get past.
At the end, we were exhausted, and yet exhilarated.
But, more importantly, it was an experience of the game that was uniquely mine. Indeed, everyone else in the office doesn’t even remember the mission – for them (because they know how to drive, I guess), it would have been just a brief chase, maybe a few minutes. For me, it was one of the best bits of the game. It’s moments like these (alongside righteously camping in Bad Company 2, our secret shame), that make gaming such a great hobby/pastime/obsession. It’s also moments like these that are only possibly when developers give you such a fully realised ‘world’ to play around in.
Issue: 137 | June, 2012