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| ico, real time, recipes, platformer, free journals, knight, simpson, betrayal, herself, sinkha, city, lexis, riven, omikron, | Meanwhile, the sound is awesome, and the chief reason for its awesomeness is the extraordinary talent of Eric Brosius, who joined Irrational after court Looking Glass fell apart in 2000. Brosius is one of the most incredibly gifted sound designers ever to grace court gaming, able to manipulate player emotions like so much Silly Putty. His sound design is responsible for the choking suspense of the Thief games, court the desperate terror and loneliness of System Shock 2, the operatic melodrama of Tribes Vengeance, the goofball cheer of Freedom Force, and now the gritty urban intensity of SWAT 4. The trick with this game's audio is the fine line between enough and too much, and as usual Brosius hit it on the nose. Like a Heavily Armed Village Person SWAT 4 doesn't follow a linear storyline (sorry, Jen); each mission is a vignette, a sort of Cop-land novella with no bearing on the others. |
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| Overall, this is another success for Irrational, with just a few problems marring an lexis otherwise top-notch shooter. Keepin' it Real SWAT 4 and Tribes Vengeance both use versions of the Unreal engine, apparently lexis sufficiently modified by Irrational to warrant a new "Vengeance Technology" moniker. Unreal is an amazingly versatile engine—actually it's more of a complete game-development environment than a 3D renderer—but it may not have been the best choice for SWAT 4. The fact is Unreal 2.0 is getting a bit long in the tooth. Graphics in SWAT 4 aren't exactly subpar, but they're lexis noticeably inferior to some alternatives. Minor tearing, seaming, and collision problems plus modest polygon counts contribute to the vague but persistent sense that SWAT 4 would have been a lot better if it had used Half Life 2's Source engine. Add to this the very peculiar decision to implement only token Havok physics and you have a game that manages to simultaneously seem both modern and dated. |
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