There are also gamepad-specific controls, but trust me-you want to play this game with a mouse and keyboard. There’s no need to pause or dig through a menu when you need to heal in the midst of a battle, no awkward spell selection wheel when you want to cast a shockwave from your hands. Pulling off these special moves requires you to double-tap one of the movement keys and then press either the right or left mouse button (depending on if it’s a sword move or a magic spell). While initially cumbersome, this allows you to have access to the full suite of powers at all times, which keeps combat fluid and fast-paced. The first you unlock allows you to heal a certain amount of health at any time-a compromise between the health packs in the original Shadow Warrior and the recharging shields found in most modern games. The other three powers are primarily about crowd control-tossing foes into the air or shielding Wang from damage. To make swordplay more feasible when you’re facing hired guns, Wang can be upgraded with a variety of supporting powers. Wang’s tattoos double as an upgrade interface for your powers. Sprinting into the fray, flailing left and right, spinning in a full circle with the blade outstretched, hacking those dastardly demons limb from limb-I played probably 90 percent of the game with katana in hand, and sighed whenever a hulking boss or flying foe forced me to swap to my guns. Even when I was mobbed by foes and a single rocket could take them all out, I stuck by my sword it’s the best unique weapon I’ve seen in any recent shooter. Shadow Warrior’s tone aside, it’s hard to quibble with the quality of the action. Wang is just a normal guy in a business suit. Or, if you prefer a video game equivalent, like a more self-aware version of Prey.Īlso, there are no Fu Manchu moustaches in the game, as far as I know. As a result it becomes more like a dumb action movie than anything else, like a Big Trouble in Little China. Shadow Warrior is the game equivalent, acknowledging what’s problematic briefly before moving on. Bruce Willis’s character responds, “I don’t want to talk about time travel, because if we start talking about it we’re going to be here all day talking about it, making diagrams with straws.” Imagine that line delivered from Rian Johnson, the writer, directly to the audience, acknowledging that some parts of the story might not work but he’s aware of it. There’s a scene in the film Looper where the two main characters sit in a diner and one brings up a question about the logic of time travel.
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