![]() ![]() From there it adds a wide variety of gameplay elements plucked from the last ten years of gaming, but never manages to make any of them feel like a solid or natural part of the whole. Speaking of Zelda, Darksiders II starts off with its third-person adventure framework, asking players to travel from dungeon to dungeon and unlock new abilities. Even the recent The Legend of Zelda games which suffer from a well-documented creative funk manage to at least bring a few memorable levels to the party, but Darksiders II feels like a constant stream of "meh." Worse, the overworld is less interesting than before, and I'm hard-pressed to remember anything noteworthy about the dungeons beyond the occasional clever puzzle. It's interesting in concept to get a look at the worlds of angels, demons, spirits and makers (the immortals who build worlds), but in practice the levels seem no different than anything one might see in a typical The Lord of the Rings clone. While Darksiders offered an interesting take on post-apocalypse Earth, Darksiders II sets its gameplay in four different ethereal planes. The story is something of a slog-with no emotional connection to the plot, the player is left with nothing to do but spend far too long riding from dungeon to dungeon, looking forward the time when the various checkpoints can be fast-travelled between. Death isn't a very strong character, and the supporting cast is so bland that their interactions with him are more likely to bore than entertain. Despite the ambitious subject matter, the story in the first game was generally flat and uninvolving, and that particular malaise has infected this sequel as well. Occasionally, it's less.Ĭontinuing the story of what happens after the apocalypse, Darksiders II casts the player as lead horseman Death (voiced by Michael Wincott) as he quests through a variety of fantasy lands, desperate to free his unfairly-condemned brother War. It's never more than the sum of those parts. Darksiders II isn't its own game so much as it is a pastiche, the developers slapping together pieces that worked in other titles, hoping that it would all make sense in the end. In the case of Darksiders II, the player can see where each individual element has been "inspired" by another, superior title. As such, I think it's important to reserve the term "derivative" to games that are notable only for their complete unwillingness to do anything but follow a well-trodden path. While everyone working in an artistic field draws something from those who came before, video games can seem especially unoriginal, owing to their habit of drawing from a common pool of gameplay mechanics, design concepts, and settings. The word "derivative" isn't especially useful when talking about video games. WTF This game literally put me to sleep in the early hours. LOW Having my reaper form cancelled out by a boss cut-scene. ![]() Slotting any weapon, even the sword, with Reaper will not give any extra souls if monster is killed with an instant kill move.HIGH Nailing the perfect sequence of scythe combos and dodges during a fight.+30% more souls gained when monster is killed with The Harvester that is slotted with Reaper.+10% more souls gained when monster is killed with a sword / gauntlet that is slotted with Reaper.Extra souls on top of this bonus are gained if this enhancement is assigned to Scythe / The Harvester.Boosts the amount of souls gained when an enemy is killed with the weapon.This enhancement is essentially a weaker version of Death's Blessing. ![]() To get the enhancement, War must swim down the passage and then dive to a lower level of the passage, continue - then turn right then left, then surface. One end of this passage comes out in a small room with two underwater passage entrances, and a locked door which leads to the room where War gets the Tremor Gauntlet. Reaper is a regular enhancement found in The Hollow in an underwater passage. A map showing the location of the enhancement (marked with X) and the locked door to the southeast. ![]()
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