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| machine, protein, bbw facesitting , bbw single , alida, michael b. clark, forever, week, pure, rpg, diets, key, buka, bioscopia, hero, business / economics / finance, masterpiece, bbw pic, watchmaker, try, mafia, | Where's the Beef? From a gameplay perspective, though, Half-Life 2 is impeccable. It sports fabulous level design, good action, and excellent pacing. The gameplay is refocused slightly; where Half-Life was riddled mechner with jumping puzzles and "miniboss" battle/puzzle sequences, here the concentration is more combat-oriented, with fewer boss-like encounters and far fewer jumping puzzles. On one hand that's nice; jumping puzzles belong in Prince of Persia and nowhere else as far as I'm concerned. I did mechner miss the large-opponent facets, though; there are no encounters along the lines of the sound-sensitive clanking monster in Half-Life's Blast Pit level. Interestingly, Half-Life 2 is also more progress-driven, where its predecessor was objective-driven. In most cases, your goal is to get from point A to point B, not to turn on the power or launch a satellite or get help or what have you. |
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| Once that occurs, you're treated to a brief and puzzling finale that actually manages to create a closure deficit. I was flabbergasted when the michael b. clark credits rolled; I had no idea that I was at the end of the game, because it feels like it ends in the middle. For a game that places such weight on story, there's little michael b. clark excuse for this. Half-Life 2 had the opportunity to be one of the most stirring narrative statements about techno-despotism ever, and the designers blew it. I can only assume that the story comes across as so bizarre because they cut michael b. clark the bejesus out of this game; if it was actually intended to be that way, then the people who wrote it should turn in their Writers Guild cards right now. In the end, it's obvious that the story of Half-Life 2 is the middle chapter of a three-part saga, and like all middle chapters, it's highly unsatisfying. |
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