The password for Get Even? "Unusual". Seriously, we are talking about a game that in some ways is a miracle medium: a smaller project by the Polish studio The Farm 51, known for Painkiller: Hell and Damnation (and little else), which was able to be noticed and published by a large Company like Bandai Namco although it was all but a commercial game. Not only that, the Japanese giant has continued to support developers even in a difficult time of creative block, succeeding with the help of an experienced producer and some additional resources to bring the job to completion. Get Even is not an atypical video game just for the events that led to its birth: it is a product away from the first-person titles we are accustomed to, ranging from various genres and trying to offer the player a rich experience of tension And strong emotions, leveraging on a branched narrative and a choreographic studio of sound. We have played these games thoroughly these days, having tried it at various events to find out if the young software house was actually able to create something memorable. The answer you find is as usual here, but is considerably more complex than a simple "yes or no".
The start of Get Even sees you as Cole Black, a rude ex-mercenary committed to rescuing an unspecified victim of a kidnapping. On paper is the typical movie hero's mission: neutralize mercenaries, save the girl, pick up glory ... but something goes wrong. Cole wakes up immediately after the accident, without memory and in a place he does not recognize. It is a goddamn place where it is, and the only voice to guide it between the claustrophobic corridors and the dilapidated walls of the buildings is that of a mysterious doctor who says he is called Red. Only our "guide" also states that the presence of Black in that horrible place is intentional, and that it is all part of a specific "treatment" whose ultimate purpose is to make it regain memory. Other than the premise you do not have to know, apart from the fact that Red plans coincide with the use of an advanced viewer called Pandora - able to revive memories as if it were a virtual simulation - and that these will bring The player gets lost in a tangle of highly articulated events, with more than a few surprises waiting for him.
Get Even´s narrative is not an impeccable example of a screenplay: it has highs and lows, and many of its shots are extremely predictable (also because the scattered clues to figure out what's going on are not lacking). The epilogue, however, is very satisfying, and the slow and compassed progress of events is sufficiently strengthened by environmental narrative and by careful search of clues that can not be tired. In short, the Farm 51 has hit the plot, and the impact they did not get from the dialogs made it out of the sound, as Get Even boasts an absolutely exceptional sound design. The multifaceted composer responsible for the music of the game, Oliver Deriviere, has maniacally cared for music and effects, coming to fond the events with impressive naturalness. Sound hints populate all the levels, while the music becomes more overwhelming as it approaches an important event: much of the emotions that Get Even can stimulate in the player are precisely this element, and there is really little To criticize (maybe only a few moments a little too extravagant).
While it is true that both story and sound are at the top of the range, however, the same can not be said of two other equally important factors: gameplay and technical compartment. As previously mentioned, in fact, Get Even is a hybrid title that explores and investigates combines shootings of various kinds. You will pass the vast majority of Get Even by walking, solving puzzles (rather basic), and using the various features of your cellphone, which contains a scanner, map, ultraviolet light and infrared viewer. But everything will break when you need to. Make use of guns, by means of mechanics that are far from limp. In fiery matches, artificial intelligence often proves to be atrocious, and when it does not move in disenchanted ways, it collides against the obstacles of the maps or stops in the cover waiting for death. Not only that, the weapon feeling is bad, unstable, with enemies that break up after a couple of shots, and can at times kill you just as quickly without notice.
It's a shame, because the team at least tried to make it all very original, with the introduction of the Angle Gun - a curious weapon capable of bending sideways and shooting accurately from any cover - and additional mechanics linked to the Pandora usable viewer In the final stages of the adventure. Without quality mechanical bases, however, this originality is not enough. To put it all in, clashes would be largely avoided, so much that Get Even tries to push towards the peaceful approach (some events change based on the violence of your actions and moral choices made during progress). Yet the stealth phases are not so much better, in part because of the positioning of the enemies, and partly because of the annoying need to constantly move from the map - where the visual cones of the opponents are seen - to the scanner to "give shape" to shells and Passages often indispensable to move undisturbed.
Checkpoints that are not always generous make it even more irritating to certain sections, despite a generally permissive general difficulty and is undoubtedly a serious problem when in a video game that tries to overcome the typical "walk simulator" concept the worst parts are those in Which is played. From a team that has already worked on the shootings, we certainly expected a little more skill in this field. The last element that partially ruins the experience is the technical one, because the version of our PlayStation 4 version unfortunately has given us little satisfaction. Let's look: graphically Get Even is not bad, thanks to real locations recreated by precise scans and realistic three-dimensional models that sometimes make their hollow figure. The textures however are not particularly detailed, polygonal counting is far from impressive, and on consoles Get Even is abominable to maintain a stable frame rate. Especially in the final phase, we noticed heavy weights (with some short freeze we were not worried about) as well as a handful of naive bugs that forced us to start from the last checkpoint. In the PC version we tried in the past, the problems were definitely less, but the visual impact of the game does not justify this kind of sobs on consoles. Get Even is not a very long experience, although there is some emphasis on clues and it is possible to rewrite the various phases to discover several significant secrets for history (related to the changes we mentioned earlier). You will end up within five or six hours, but it is a good time to prevent the experience from being stale. The reduced price of the title justifies the time it takes to complete it.
Deeply blown due to maladish shootings, unsatisfactory stealth phases, and a technically far-fetched compartment, Get Even can not see it with the best first-ever commercial titles. His complex narrative and the excellent use of the sound, however, make it a worthy product of attention, which will surely capture lovers of well-written stories and games rich in atmosphere. Too bad for the waste of potential, there could be a lot more.
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