Corridors, streets, warehouse rooms and town square shoot-outs alike are as boxed in and restrictive as each other, often dropping a swathe of empty space between the player and the enemy’s resolutely dug-in position – sometimes even physically isolating you from the action entirely – creating the sense of firing into a self-contained diorama model from the outside. It’s as close to a fairground shooting gallery as modern games have ever come.
With weapons largely interchangeable – aside from a couple of more interesting, but barely used, area-specific ones – and enemies often respawning for long enough to make you feel that the game has broken, combat goes nowhere fast. Basic, yet bloated, it appears so infrequently over the course of the game that there’s no time for it to evolve. By The Order’s climactic stages, you’re experiencing nothing that isn’t present in the early chapters of this game, or any other shooter.
What do you do for the rest of the time? Not a lot. As unremarkable as The Order’s combat is, it’s when the game tries to expand the scope of its story’s delivery that it utterly fails. This is where its naïveté regarding the player experience becomes blisteringly apparent. Simply, it trots along with telling its story, but gives the player no meaningful presence within it. You know all the little filler actions you carry out between the main sequences of an Uncharted or a Gears of War? All of that corridor-walking, and radio-chatting, and door-opening, and diary-reading, and obstacle-pushing, and simple climbing and jumping? The rest of The Order: 1886 is made of that and little more. And by ‘little more’, I mean ‘an incredulous volume of cutscenes’.
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The Order: 1886 review - App Review 4u
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