In the graphics department, KoAR goes for something a little bit different. Characterization isn’t necessarily the story’s strength, plotting is. There’s nothing here that’s going to redefine the fantasy genre, but at the same time, the level of lore and turns of the plot represent the genre well and provide enough interest to keep players moving ahead to find out what happens next. Salvatore was involved in the conception of this world’s history, writing 10,000 years worth for both this game and future titles in the Amalur brand.
This is a dense world, with a rich history comparable to typical fantasy novels, but that should be no surprise since a novelist, R.A. It’s also a pretty convenient excuse to allow you to re-spec your character at any time, redistributing skills and talents for a small amount of money from a “Fate weaver” who’s normal function for others is simply to tell them what’s in store for their fate.
What follows next is a long, in depth RPG that explores the lore and culture of a world where everyone except you has an unchangeable destiny, until you come along and muck things up. Kingdoms of Amalur: Reckoning begins with players (after some character creation) finding themselves atop a pile of bodies, and quickly realizing that they are A) the first successful resurrection in a long line of failed experiments and B) removed from the tapestry of fixed, linear destiny as a result.
An RPG in an FPS market? A new IP going up against the current monster, the Elder Scrolls series? Art direction that was colorful instead of dark and gritty? Could this possibly survive in a market that has defined anything successful as needing to adhere to Modern Warfare or Skyrim? The answer, at least in the case of this game, is a resounding yes. When Kingdoms of Amalur: Reckoning was first announced, there was a lot of potential on show thanks to the big names involved, but there was also a lot of doubt.
0 kommentar(er)
