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- Messages
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Texas Chain Saw Massacre 1st playthrough.
-
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Screenshot thread
- Thread starter potatojohn
- Start date
Baron Dupek
Arcane
- Joined
- Jul 23, 2013
- Messages
- 1,870,829
sup Drog
I like my women hard
working
What, you don't fancy slow, toxic death?
I met imps from Codex
They were not worth that much XP
I like my women hard
working
What, you don't fancy slow, toxic death?
I met imps from Codex
They were not worth that much XP
Last edited:
Nomad_Blizz
Arcane
- Joined
- Dec 18, 2014
- Messages
- 333
Playing SMT:Nocturne and just beat this op boss
A horse of course
Guest
Tomb Raider III
Adventures of LARA CROFT (1998)
Though Tomb Raider III tries to capture some of globe-trotting exoticism of the original title, it's very much the child of the second game rather than a return to the series' roots. After the opening levels, Lara can use a new geoscape interface to select from several locations around the world in her hunt for ancient meteorite fragments, concluding with a trip to Antarctica and a buried prehistoric city. Controls are virtually identical to previous entries - including the agonizingly slow climbing and hanging animations - aside from, as far as I could tell, slightly more lenient frame cancelling. Two minor additions are a sprint button and the ability to duck and crawl. Whilst the latter does open up some interesting possibilities for level design and interconnectivity, sprinting is only useful in a handful of situations. A somewhat aggravating side effect of these additions is the removal of the sidestep keys, meaning that side-stepping now requires holding down the walk button and directional keys - preventing the player from turning left and right whilst that button is held down. Controllable vehicles from Tomb Raider II return, ranging from passable (the motorboat) to infuriating (the quad bike in India). Combat encounters are roughly as frequent as TR2, albeit with more of a balance between gun-wielding foes and dangerous wildlife (natural or otherwise), and most chapters end with a boss fight in which you'll probably die several times until you figure out each fight's unique mechanics.
As with Tomb Raider II, my biggest issue isn't the painful controls or the raw length of certain maps, but the sheer maliciousness of pitfall and trap placement in the game. Every time you plummet into the void, impale yourself on barely-perceptible barbed wire, drown, burst into flame or freeze beneath icy waters, there's a palpable sense of spiteful glee on the part of the designers. There are countless sections of the game that were either never playtested by anyone without prior knowledge of what was coming, or were created with the specific intent of brutally murdering players over and over again until they understood what to do, where to go, and which moves to use from the instant they enter a room. Similarly draining is backtracking through the same traps and platforming areas after you inevitably miss a key drop or obscure item from earlier in the level. There's also a severe lack of consistency in how much assistance the game gives you in figuring out your next move. In some levels, every switch you flip will trigger a cutscene showing a door opening or platform moving. In others, it's up to the player to figure out what a lever did - and there's a good chance the door it opened is from an area you last visited 45 minutes ago. The general difficulty of the game is similarly uneven, with the first two maps of the final chapter probably the easiest and least complicated of the entire game.
With all this in mind, I did enjoy the game a little more than its predecessor. Music is used even more effectively than the previous two titles in establishing atmosphere or marking a change in tone, from sparking action sequences to capping off a particularly arduous platforming segment - though it helps that Tomb Raider 3 has the convenience of recyling a lot of tracks and sound effects from earlier games. Voice acting for everyone was more than adequate, and I'm quite fond of the unnamed thespian playing Mark Willard - who does a remarkable job of hinting at the soulless barbarity that festers in the heart of every Scotsman - plus the charming racism of whoever played the South Pacific cannibals. Environments are generally creative and varied, lighting and particle effects improved, and Lara's wetsuit is commendably flattering to her derrière.
Tomb Raider 3 is a convenient place to take a small break from the franchise, with composer Nathan McCree, and Judith Gibbins - Lara's second voice actor - departing the series. The next three Tomb Raider entries, though technically a continuation of the first trilogy, should arguably be considered as distinct in both narrative and mechanics. Since the first game, Core Design had been obliged to churn out a new Tomb Raider title every year, and by the time they'd finished TR3, many of the devs had reached their limits due to the endless crunch time and separation from their families. By the time the team was thrown onto a fourth game, the intent was reportedly to end the series for good, and the final three installments of the "classic" series were all heavily influenced by both this decision and behind-the-scenes corporate politics that culminated in the disastrous Tomb Raider: The Angel of Darkness. Once I've settled into my new job, I'll think about doing a marathon of Core Design's final Tomb Raider games.
Adventures of LARA CROFT (1998)
Though Tomb Raider III tries to capture some of globe-trotting exoticism of the original title, it's very much the child of the second game rather than a return to the series' roots. After the opening levels, Lara can use a new geoscape interface to select from several locations around the world in her hunt for ancient meteorite fragments, concluding with a trip to Antarctica and a buried prehistoric city. Controls are virtually identical to previous entries - including the agonizingly slow climbing and hanging animations - aside from, as far as I could tell, slightly more lenient frame cancelling. Two minor additions are a sprint button and the ability to duck and crawl. Whilst the latter does open up some interesting possibilities for level design and interconnectivity, sprinting is only useful in a handful of situations. A somewhat aggravating side effect of these additions is the removal of the sidestep keys, meaning that side-stepping now requires holding down the walk button and directional keys - preventing the player from turning left and right whilst that button is held down. Controllable vehicles from Tomb Raider II return, ranging from passable (the motorboat) to infuriating (the quad bike in India). Combat encounters are roughly as frequent as TR2, albeit with more of a balance between gun-wielding foes and dangerous wildlife (natural or otherwise), and most chapters end with a boss fight in which you'll probably die several times until you figure out each fight's unique mechanics.
As with Tomb Raider II, my biggest issue isn't the painful controls or the raw length of certain maps, but the sheer maliciousness of pitfall and trap placement in the game. Every time you plummet into the void, impale yourself on barely-perceptible barbed wire, drown, burst into flame or freeze beneath icy waters, there's a palpable sense of spiteful glee on the part of the designers. There are countless sections of the game that were either never playtested by anyone without prior knowledge of what was coming, or were created with the specific intent of brutally murdering players over and over again until they understood what to do, where to go, and which moves to use from the instant they enter a room. Similarly draining is backtracking through the same traps and platforming areas after you inevitably miss a key drop or obscure item from earlier in the level. There's also a severe lack of consistency in how much assistance the game gives you in figuring out your next move. In some levels, every switch you flip will trigger a cutscene showing a door opening or platform moving. In others, it's up to the player to figure out what a lever did - and there's a good chance the door it opened is from an area you last visited 45 minutes ago. The general difficulty of the game is similarly uneven, with the first two maps of the final chapter probably the easiest and least complicated of the entire game.
With all this in mind, I did enjoy the game a little more than its predecessor. Music is used even more effectively than the previous two titles in establishing atmosphere or marking a change in tone, from sparking action sequences to capping off a particularly arduous platforming segment - though it helps that Tomb Raider 3 has the convenience of recyling a lot of tracks and sound effects from earlier games. Voice acting for everyone was more than adequate, and I'm quite fond of the unnamed thespian playing Mark Willard - who does a remarkable job of hinting at the soulless barbarity that festers in the heart of every Scotsman - plus the charming racism of whoever played the South Pacific cannibals. Environments are generally creative and varied, lighting and particle effects improved, and Lara's wetsuit is commendably flattering to her derrière.
Tomb Raider 3 is a convenient place to take a small break from the franchise, with composer Nathan McCree, and Judith Gibbins - Lara's second voice actor - departing the series. The next three Tomb Raider entries, though technically a continuation of the first trilogy, should arguably be considered as distinct in both narrative and mechanics. Since the first game, Core Design had been obliged to churn out a new Tomb Raider title every year, and by the time they'd finished TR3, many of the devs had reached their limits due to the endless crunch time and separation from their families. By the time the team was thrown onto a fourth game, the intent was reportedly to end the series for good, and the final three installments of the "classic" series were all heavily influenced by both this decision and behind-the-scenes corporate politics that culminated in the disastrous Tomb Raider: The Angel of Darkness. Once I've settled into my new job, I'll think about doing a marathon of Core Design's final Tomb Raider games.
Last edited by a moderator:
A horse of course
Guest
I meant it in the sense that it basically destroyed Core (though Eidos were allegedly trying to stab them in the back for years, including concealing the fact CD were working on Tomb Raider: Anniversary whilst Core were working on the same thing for psp). I have no idea how good or bad it is yet. I mean:
has been my experience with pretty much all the classic games so far anyway.
Astral Rag
Arcane
- Joined
- Feb 1, 2012
- Messages
- 7,771
Quake, Nehahra campaign
How did you play it? I tried a custom old Fitzquake Build some time ago but it didn't work on my PC. I also tried several DirectQ and QS builds
edit: This repack seems to work out of the box
Last edited:
Gigantic Army
I remember someone made a thread in gg about this game, and it catched my interest. Since there was a promo on steam, it was time to try it.
You are a pilot of a robot, and before the whole campaign you choose from 3 different main weapons and supportive heavy ones. You can power them up by grabbing the boosters that you will find among other necessary items. One thing that is really crucial to remember, and I learn it the hard way, that you will need to move fast through levels. Time is more lethal on easy and normal difficulties than most foes that you need to defeat. Fortunatelly you will find it scattered too, with some tiny optional paths when you find more of it. Just add to this the health replenishers and we are set to go. You will also have a destructible shield, which will help to avoid some nasty projectiles. Plus the jetpack, when you need to move vertically or to avoid guided missiles.
The title "Gigantic Army" has a nice touch to it once you start fighting with the bosses. They aren't so hard compared to the japanese hell shooters, but still you need be focused on their attack paterns and avoid damage. Because most of the time the boss wasn't really a boss but "only" the apperitif before the main dish. Graphics are really good, feels similar to those seen in arcade games from the first half of 90's. I was dissapointed by music though. If you played all the hot MAME titles 7 times already and want to try something new, but old at the same time I can recommend Gigantic Army.
One Must Fall 2097
I remember the shareware version that was included in one of many CD bundles when the drives where coming on the domestic potato market. I had to try the full version after so many years to confront that memories. Well, it started great as always with the main theme.
This brings great memories as always.
The story mode where you choose premade pilots and robots its a good starter if you want to get accustomed with the controls and flow of the fights. It's nice, the fights can be really tough, because AI is really unforgiving when it comes to higher difficulty levels. But something is missing. After defeating Nova who is the first and only boss in the game I felt dissapointment. The game just ends so quickly, and the plot with the evil corporation W.A.R (lulz) it's not worth mentioning. But, there is a tournament play. I've started with a robust Jaguar and a guy with average stats. You get some money on start and you have to pull higher in the different tournaments. North America is the most easy and a good booster for your morale. Because when you will try to move onward, you will challenge many guys who didn't appeared in story mode.
The beauty of this mode lies in the fact, that even if you loose you are still in the game. Of course if you have money for repairs. The grumpy old mechanic will always have some tough words for you when you see how much the robot has been damaged. That's right, your robot isn't indestructible and it is always maintained after the fight. And the more vitality is left, the more credits you will earn at the end. Oh, and there is only one round.
You customize your robot, change his colours of armor, give give more armor/legs/arms/etc. levels and boost your pilot. Once you hit the jackpot and start winning you will feel the huge difference from where you started. After 90 fights on my account, the piloted Jaguar was a killing machine, making 5 combos without any problems and could chain even more due to the secret moves. And the AI can still surprise even after so many fights. The hazardous stages when you have too look out for the airplanes or you can toss them at the electrified net makes them even more interesting. Tournament mode is really addictive and great. That is the OMF 2097 was meant to be played.
Great music and graphics are still present, I like those early titles published by Epic Megagames. They really knew how to find a good game among many others.
Armored Warriors
One of the arcade titles made by Capcom that is now a little less known compared to Cadillacs & Dinosaurs or Punisher and Captain Commando. I think it was made by the same team as Alien Versus Predator because of some graphics similarities. Nevertheless it's a great game where you operate a giant robot and beat everything when you move onward. The most excellent future is that your machine is fully moddable. You don't want those pesky legs but a cool motorizes and deadly while in-air tank like system ? No problem, just kill a robot that has got it and take it. Same goes for weapons (melee and shooting ones). My favourite is laser saber that can cut enemies in half and the grabbing arm which takes a poor fellow and bashes him to the grounds while bringing some damage to anyone who is near him. There is more, but I won't spoil it for you.
I remember someone made a thread in gg about this game, and it catched my interest. Since there was a promo on steam, it was time to try it.
You are a pilot of a robot, and before the whole campaign you choose from 3 different main weapons and supportive heavy ones. You can power them up by grabbing the boosters that you will find among other necessary items. One thing that is really crucial to remember, and I learn it the hard way, that you will need to move fast through levels. Time is more lethal on easy and normal difficulties than most foes that you need to defeat. Fortunatelly you will find it scattered too, with some tiny optional paths when you find more of it. Just add to this the health replenishers and we are set to go. You will also have a destructible shield, which will help to avoid some nasty projectiles. Plus the jetpack, when you need to move vertically or to avoid guided missiles.
The title "Gigantic Army" has a nice touch to it once you start fighting with the bosses. They aren't so hard compared to the japanese hell shooters, but still you need be focused on their attack paterns and avoid damage. Because most of the time the boss wasn't really a boss but "only" the apperitif before the main dish. Graphics are really good, feels similar to those seen in arcade games from the first half of 90's. I was dissapointed by music though. If you played all the hot MAME titles 7 times already and want to try something new, but old at the same time I can recommend Gigantic Army.
One Must Fall 2097
I remember the shareware version that was included in one of many CD bundles when the drives where coming on the domestic potato market. I had to try the full version after so many years to confront that memories. Well, it started great as always with the main theme.
This brings great memories as always.
The story mode where you choose premade pilots and robots its a good starter if you want to get accustomed with the controls and flow of the fights. It's nice, the fights can be really tough, because AI is really unforgiving when it comes to higher difficulty levels. But something is missing. After defeating Nova who is the first and only boss in the game I felt dissapointment. The game just ends so quickly, and the plot with the evil corporation W.A.R (lulz) it's not worth mentioning. But, there is a tournament play. I've started with a robust Jaguar and a guy with average stats. You get some money on start and you have to pull higher in the different tournaments. North America is the most easy and a good booster for your morale. Because when you will try to move onward, you will challenge many guys who didn't appeared in story mode.
The beauty of this mode lies in the fact, that even if you loose you are still in the game. Of course if you have money for repairs. The grumpy old mechanic will always have some tough words for you when you see how much the robot has been damaged. That's right, your robot isn't indestructible and it is always maintained after the fight. And the more vitality is left, the more credits you will earn at the end. Oh, and there is only one round.
You customize your robot, change his colours of armor, give give more armor/legs/arms/etc. levels and boost your pilot. Once you hit the jackpot and start winning you will feel the huge difference from where you started. After 90 fights on my account, the piloted Jaguar was a killing machine, making 5 combos without any problems and could chain even more due to the secret moves. And the AI can still surprise even after so many fights. The hazardous stages when you have too look out for the airplanes or you can toss them at the electrified net makes them even more interesting. Tournament mode is really addictive and great. That is the OMF 2097 was meant to be played.
Great music and graphics are still present, I like those early titles published by Epic Megagames. They really knew how to find a good game among many others.
Armored Warriors
One of the arcade titles made by Capcom that is now a little less known compared to Cadillacs & Dinosaurs or Punisher and Captain Commando. I think it was made by the same team as Alien Versus Predator because of some graphics similarities. Nevertheless it's a great game where you operate a giant robot and beat everything when you move onward. The most excellent future is that your machine is fully moddable. You don't want those pesky legs but a cool motorizes and deadly while in-air tank like system ? No problem, just kill a robot that has got it and take it. Same goes for weapons (melee and shooting ones). My favourite is laser saber that can cut enemies in half and the grabbing arm which takes a poor fellow and bashes him to the grounds while bringing some damage to anyone who is near him. There is more, but I won't spoil it for you.
warpig
Incel Resistance Leader
You should play Armored Hunter Gunhound EX if you want some more 2d sidescrolling mecha action.
Baron Dupek
Arcane
- Joined
- Jul 23, 2013
- Messages
- 1,870,829
I don't remember Xena having THAT big bumpers
off to a good start
good start indeed
finally some dark dunjins
interestung physix
there was another elastic-necked skaven here but i guess he was camera shy
run run run run away
CLOSE DAT DOOR ALREADY YOU TARD
fukken cliprats, mang
why did i even take this pic
goddamn herostratus can't even jump down properly
catfood
AGAIN
Burn the heretic horse.
Baron Dupek
Arcane
- Joined
- Jul 23, 2013
- Messages
- 1,870,829
chillout after fight
poisoned spider? wut
cool
*insert youarealreadydead.bmp here*
Last edited:
Baron Dupek
Arcane
- Joined
- Jul 23, 2013
- Messages
- 1,870,829
Valiant
I died horribly. Actually managed to scare him off with the flare the first time but that second time I aimed high, the flare flew over the bear's head and he mauled me.
Edit: Still by far the best open world survival game. Unlike other such games the world feels hand crafted (which I suppose could become a fault if I were to play it enough that I memorized every location, but item placement is random and I'd have to play a ton before I got to that level of memorization) and the atmosphere is somehow comfortable while also being pervasively hostile. The bear thing is part of the new challenge mode, which puts you into certain scripted scenarios, such as avoiding a bear that is stalking you (until you can find a gun powerful enough to kill it) or trying to find a signal flare to call for possible help (in the bear one you find the signal flare right away but in said other scenario the signal flare would be hidden in some distant location).
Edit: Still by far the best open world survival game. Unlike other such games the world feels hand crafted (which I suppose could become a fault if I were to play it enough that I memorized every location, but item placement is random and I'd have to play a ton before I got to that level of memorization) and the atmosphere is somehow comfortable while also being pervasively hostile. The bear thing is part of the new challenge mode, which puts you into certain scripted scenarios, such as avoiding a bear that is stalking you (until you can find a gun powerful enough to kill it) or trying to find a signal flare to call for possible help (in the bear one you find the signal flare right away but in said other scenario the signal flare would be hidden in some distant location).
Last edited:
HansDampf
Arcane
- Joined
- Dec 15, 2015
- Messages
- 1,471
AM2R
Spiderball is slow af, but becomes obsolete later on.
This is still a thing.
Fuck those guys!
And this guy in particular.
Time of day changes as you progress.
Seems like a faithful remake of Metroid 2, but I'm getting bored relatively quickly. M2 didn't have the best level design in the series. And those Metroids can be really annoying. Sometimes I waste 50 missiles on them and everything misses by one pixel, other times the fight is over in 10 seconds.
Spiderball is slow af, but becomes obsolete later on.
This is still a thing.
Fuck those guys!
And this guy in particular.
Time of day changes as you progress.
Seems like a faithful remake of Metroid 2, but I'm getting bored relatively quickly. M2 didn't have the best level design in the series. And those Metroids can be really annoying. Sometimes I waste 50 missiles on them and everything misses by one pixel, other times the fight is over in 10 seconds.
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