thatvasup.blogg.se - Myst v end of ages

#Myst v end of ages skin#
#Myst v end of ages series#

The decision to move away from highly detailed graphics falls flat on its face when it comes to the game's non-human characters.

To bring live actors into this paltry environment would only call attention to its deficiencies.

#Myst v end of ages skin#

The final result is still plastic-there's simply no way to convey the intricacies of skin tone and muscle movement with motion capture alone-but it suits the look of the game itself. The characters' faces no longer look as if the skin were hung on a frame, and Cyan's 'face mapping' technique does allow an impressive range of expression.

And speaking of the plastic and the textureless, how about the decision to switch from live actors before a green screen to motion capture? I was rather critical of the game characters' appearance when I reviewed the Myst V demo, and I have to admit that there was some improvement on this front in the game itself.

There's almost no detail and very little texture to the game worlds-they all come off rather plastic. Pretty as they are, there's simply no comparison between these images and the earlier ones, and these screenshots fail to convey the gameplaying experience itself, which often seems to be a miserable cross between your average, polygonized FPS and Monkey Island. In End of Ages, the game designers made the decision to move to a fully immersive 3D environment-all movement is animated, at the cost of image definition and the aforementioned cut scenes (even the swirly fly-bys when you link into a new age are gone).

#Myst v end of ages series#

The price for all this exquisite detail was restriction of movement-the first two games were essentially slideshows, series of static tableaus, and although the third and fourth games allowed 360 degrees of motion from any fixed position, movement between these 'nodes' was still static. Myst games have always placed a high premium on beauty and on spectacle-lots of elaborate, lushly decorated interiors and breathtaking exteriors, lots of cut scenes, usually fly-bys, whose only reason to exist was to give the player a visual treat-see the following examples from Myst, Riven, Exile and Revelations: It's not just the absurd and quest-like plot, but the very look of it.

There's something profoundly un- Myst-ish about the entire game.

In the end, you have to decide what to do with the Tablet, in an ending that mirrors the final choice of the original Myst, if by 'mirrors' we mean 'replicates the situation without any of the attendant tension or interest'. The whole thing is very vague, and there are also some kind of alien creatures who respond to the Slates and the Tablet.

Yeesha and another D'ni survivor, Esher, send you on a dimly understood quest through the remains of the D'ni city and four other ages to collect four artifacts (the Slates) which will in turn release a fifth one-the fabulously powerful Tablet (not that we ever see even a hint of its power).

She's also bugshit crazy but, surprisingly enough, not a homicidal maniac, which puts her ahead of the curve when it comes to her family. The plot in a nutshell: Atrus' daughter Yeesha, previously seen as a bouncing, apple-cheeked cherub in Myst III: Exile, and more recently as a hilariously wooden young actress in Myst IV: Revelations, is all grown up, and has the facial tattoos and pretentious inner turmoil to prove it.Can we pretend this game never happened? Can we? Please? The listing tries to be hierarchical: if one Age is to be accessed via another, or is only mentioned in the context of another, it is mentioned therein.

Multiples of listings of the same age are thus possible. the game, novel or other places (for example, the D'ni Restoration Council (DRC) web site). This listing is sorted by where the ages were introduced, shown or described, i.e.

1.1.5.2 Uru Live, Uru: To D'ni, Untìl Uru.