![]() The first issue is common to a few games and really ruins stealth aspect in an otherwise decent game in this genre.Ģ and 3 are just annoying. Secondary weapon and pistol wobble: if you play this on console, these weapons are practically only useful for shooting into the air as wedding celebrations because you won't hit anything with them. Gives you a drone that practically doesn't work anywhere because it's being jammed (but all the walkie talkies work) and you can't take out the jammers. and not only do they not investigate the location of the explosion, out of 360 degrees of potential location for an enemy, they stream up the hill to the very bush I am hiding in.) ![]() When I use a supressor to headshot someone and no one sees it, you do NOT sound the alarm when you find the body and come towards where I am hiding because you DON'T KNOW where I am! (Similarly, dude steps on land mine and explodes. not as bad imho) but I think it's compounded by these: I'm prepared to put up with some clunkiness if only these types of games would fix a couple of seriously major AI/mech issues: The zoom jitter is bot as bad and the "perfect SMG shots from 800 yards" generic flaw has improved (i.e. I'd still say 7 because they've improved from the first version (a tad anyway). I suppose they don't want controversy when they can just have you shooting comically villainous people from Eastern Europe. I can't help noticing that the Contracts games have overtly steered far clear of the kind of "might rile up an American audience" political subject matter that pre-gutted SGW3 was going for. Some of the writing is absurdly meta, like that conversation between Jon and Robert in the intro where Robert asks about "Lea", and Jon corrects him with "Lydia". The game whiplashes between some absolutely terrible tough guy banter from Jon to a woman studying her clipboard and talking about the children she buried. "Gorbachev, why have you abandoned us?" bemoans the old man standing at the roadside. But I do suspect the ambient NPC dialogue is from the older version of the plot, which is why it's much higher quality writing-wise, and has a lot more political overtones. The final game feels like a hack-job narrative wise. It was aiming for a kind of "Are we the baddies" self-reflection that is completely and utterly missing from the final game. (This was mentioned in trade show demos circa 2015-2016). The player was put in a position where they'd get missions to infiltrate these warring factions, befriend characters, and then get orders from the US brass to shoot them in the head from a kilometer away. It was originally some kind of Heart of Darkness-style affair where the game's villain was a rogue US General in a relationship with the protagonist's missing brother. That's because the game underwent some radical rewrites circa 2016 when the original lead writer/military consultant had a falling out with the head of the studio. The story definitely started off good but didn't meet my expectations by the end.
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