There are some noticeable exceptions, including a heavy weapons op in a Huey and the panic-stricken defence of a crumbling fortress that turns into a relentless galling bloodbath, but it's fair to say there could have been more invention in the missions. When Taylor wakes the rain is ceased and yellow mist drapes languidly over crystal moonlight, leaves and twigs and solid silence rolled with water drops. ShellShock: Nam '67 is the second Vietnam War-themed shooter to be released in as many weeks, and another three will arrive in stores over the next month. Guess which one Shellshock picked? Heads explode in a shower of gore, people scream in Vietnamese, civilians run for cover and beg not to be hurt. Not a fan of third person. Oh, and your character can't jump. However, anyone interested in more than stubbornly average gameplay should look elsewhere.
In fact, it's easier and almost unavoidable. Like a sort of jungle-based Silent Hill, the gritty, misty look - far from being a cop out - actually allows Guerrilla more room to pack the levels with flora and fauna detail, and the dense, heavy environment often feels oppressive - more so with an array of excellent debris-laden explosive effects. If you click on one and make a purchase we may receive a small commission. You can shoot civilians, pigs squeal little hog! Truly great filmmakers like Oliver Stone, Francis Ford Coppola and Stanley Kubrick have all presented absolute classics on the Vietnam war, with films such as Platoon, Casualties of War, Full Metal Jacket and Apocalypse Now showing point blank the pure, terrifying waste and unending fear involved in the conflict in a notoriously unflinching manner. Your soldier can carry one melee weapon, one pistol, and one rifle, which is pretty limiting, though you can swap those weapons out on the battlefield if you're lucky enough to find the right gun for the current situation. A few take as little as 15. All three versions look pretty much the same.
What story is included involves a vicious Vietcong general given to massacre and not much else and your missions against his forces. It's shot in the third-person, has more death that a 15th Century plague party and lets you go as mental as you like with very big guns. But there are some places Eidos obviously wasn't comfortable going. There are a few exceptions, like holding off waves of enemies in defense of a jungle fortress, disarming booby traps, or gunning them down in the streets from an in-flight helicopter. People who downloaded Shellshock: Nam '67 have also downloaded: , , , , , , , ©2019 San Pedro Software Inc. Your soldier's health regenerates quickly, so the game becomes ridiculously easy as soon as you learn to find cover and squat for a few seconds.
The Last Chopper Out Other aspects of Shellshock rankle too. Until you realise that the name of the game is to reach a set of arbitrary checkpoints, you can waste ages just killing dozens of respawning enemies and run out of ammo as a result. Shellshock has no problem portraying torture, murder, and war, but it relegates sex with a prostitute to off-camera wall shaking and moaning. Battlefield: Vietnam kind of ignores the side of the conflict that included rape, Agent Orange and huge American men gunning down farmers with M60s from Huey gun bays. In one section you walk into a cave that you just happen to find when you're sneaking around. Halo 2 of course will be good, but won't follow any real sim aspects or real-life conflicts like the others will. And even that's completely unnecessary.
Because the atmosphere in Vietnam was severely rubbish, to be blunt. The enemy attacks later that night, Tompkins is sniped at the start of the attack, O'Brien is hacked to death with machetes in full view of Walker's squad, the attackers are repelled after arrive. Shellshock: Nam '67, however, tries to set itself apart from the others by providing a much more gritty and realistic portrayal of the war and everything that came with it. Even with its checkpoint save system, most of the game's 13 missions won't take more than 30 minutes to complete. You're also accompanied by teammates that hoot and scream catch phrases, but they're completely computer-controlled no coordination or commands needed from you, buddy , dumb as rocks, and curiously indestructible outside of scripted sequences where they seem fated to die.
So you have bold, gritty depictions of violence, sex and a smattering of the psychological terrors of war, and yet Shellshock completely fails to reach the kind of cinematic feel or pathos you get from movies like Apocalypse Now or Platoon. Between virtually every level, you're taken back to base camp. The same goes for the levels, complete as they are with invisible walls and conspicuously arranged tree trunks designed to keep you in bounds and on the correct path. Taylor hits a Claymore and begins one of film's most appalling, enthralling war scenes. One question though, Why cant you lay down in the demo? The outdoor environments are nicely detailed and have a soft-focus haziness that complements the jungle setting.
It has brutal suicide and in-your-face prostitution. Realistic injuries were a consideration while Shellshock: Nam '67 was in development. One of the first action sequences in Platoon chronicles Private Chris Taylor's first night in the bush. Players will fight their way through a variety of missions that range anywhere from large-scale battlefield encounters to Special Forces covert operations. In fact, ShellShock has one of the least realistic damage models of any recent military shooter. The controls and the use of a third-person perspective are chief among the questionable gameplay problems and design choices.
Stealth mainly consists of creeping up behind enemies and stabbing them, but it's really difficult to do in the absence of any hiding or evasion mechanics. This, along with a generally sluggish sense of movement and targeting frustrates, and conspires to dirty the ambience, but begins to pale into insignificance once it becomes all-too evident that Guerrilla endorses the laziest gameplay mechanic of them all; the endlessly respawning enemy. Guerrilla the team that worked on Shellshock is actually different from the Killzone unit - as seems obvious once you see the two games side by side obviously realised this early on. Walker and Kowalski are put under the command of Lieutenant O'Brien along with another G. The characters are shallow: you're not given any kind of insight into what's going on with them, what they're thinking, what they're feeling, or how they're changing.
It has heads on sticks, excreta-covered sticks flying out of trees into legs and sticks in pits. As Caleb and his squad proceed through the area, a incident, involving flawed mortar coordinates, forces another G. For the majority of the game's missions, you're accompanied by a squad of indestructible computer-controlled grunts though they'll sometimes die--usually horribly--as part of a cutscene. From one tense sequence to the next, everything about Shellshock evidently appears designed to jolt the player to the max. They jumped to the next task of seizing an old French fort being used as , after fighting through the valley entrance, clearing out multiple bunkers after an ineffective napalm strike failed to do, they assault the fort, Walker explores the basement and finds the P. Oliver Stone shows his squad locking and loading and slides them into a mosquito hole with bulbous eyes and dripping skin.