Helping you navigate the ditritus corridor during much of the single player campaign you’re accompanied by a computer-controlled buddy, typically Rico. He essentially fills the spot that would be taken by a friend in split screen co-operative play. And when I say “help”, there’s more than a little irony in my keypresses.
Unfortunately for single players, the AI is a bit naff and you’ll probably find yourself doing one of two things; following him blindly as he pushes forward, only to realise you’re getting shot in the back because he’s pushed on before all the enemy are cleared. Alternatively, if you let him run ahead he’ll end up injured and incapacitated, whining incessantly about you taking your own good time to secure the area. To shut him up, give him a zzzap with the “magic spark of life” device you’ll be familiar with from
Killzone 2.
Of course, the ultimate answer to this is to play in co-operative split screen. This mode follows the same path as the single player, but without that added annoyance of stupid AI.
If your friend continually gets injured, you can always beat some sense into them with the rubber ball on the end of the Move controller, because that’s about all the Move is good for in this mode - for some reason it’s unavailable, no doubt due to it being confusing as to what is considered full left or right when you only have half the screen.
Take note, however, that there’s no online co-operative play. Given that the levels are designed for both single and co-op play, it’s feels like a bit of a missed opportunity that you can’t have a player drop in or out as you play.
Visually, well, it’s a thing to behold. The quality of the graphical production cannot be faulted one bit. Each character’s facial features can be measured on a pores-per-pixel scale, which goes as much for the incidental characters as it does the pro/antagonists. The scenery delivers on scale, with vast ships and towering machines, and also down to the intricate detail, and as already mentioned, there’s more variety in the environments.
Layered on top of that are the environmental effects; the thick rain of nuclear fallout, showers of spume sent skyward as the icy ocean pummels the shore, and thick pillars of smoke that actually look tangible, and more than a few mere fuzzy blobs added as an afterthought. I'd dearly love to check this out in (eyepopping) 3D, but at the moment I’ll have to put up with 50 inches of plain old 2D.
Welcome to Clichéville
Fight!
Disappointingly the narrative doesn’t occupy the same mantle. There’s no improvement from the game’s predecessors, and nothing compelling in terms of gripping plot; no enigma to uncover or endearing characters to root for.
The best you can hope for is some strange energy source that makes a mess of people’s trousers, and a bit of political in-fighting as military heads wrangle with weapons contractor Stahl for power. Infuse this with an heavy dollop 20th century Soviet and Nazi typecasting, and it’s all a bit “Welcome to Clichéville”.
The Malcolm McDowell-voiced Stahl is the classic cocky-but-runty SS officer, who for some reason bears more than a passing resemblance to Batman’s The Joker. For the Helghast Admiral, voiced by Ray Winston, think the chubby chops of Joseph Stalin. Hells, this shouldn’t be any surprise. The theme's been with the series from the moment you saw the Hig’s Stormtrooper-modelled helmet, but it’s worn more than a little thin now.
The dialogue continues to be clumsy despite this raft of well respected actors. In fact, I’m sure I caught Stahl uttering dialogue paraphrasing a Joker line from the Tim Burton
Batman movie. Perhaps the visual resemblance was affecting my hearing. While the delivery of the voice acting is top-notch, the polish just isn’t there in the scripting. Furthermore, voice audio within the game feels like it’s the poor, ginger relation of the sumptuous visuals.
Often times the lip-syncing is out my a mile during cinematics, and the mix too low against the incidental music, which doesn’t match the in-game mix where the vocals easily stand out from the ambient and music. Both in game and in cinematics the vocals have only occasionally been processed to fit the scene, so voices mostly seem like we’re sat in a studio and not on the deck of a Raptor that’s tearing through the skies. Fortunately, all other audio is spot on, from the general background chatter to the use of 5.1 surround.
It’s too early to comment on the multiplayer. In the beta, frankly I found it needed some balancing. I rarely got far from my spawn point without near immediate death from afar. As that was beta code, it wouldn’t be fair to take a view on it right now as there’s every possibility it’s been tweaked, honed and buffed.
MAWLR
So what it is that brings players back to
Killzone. I’m still at a loss to quantify it. It surely cannot be the story, and I’d bet my first born that it’s not the dialogue. As for the gameplay, it ticks all the boxes but still doesn’t bring any new juice to the party - unless those moments of on-rails gunning float your boat. As much as I’m loathed to entertain the notion, I think it might actually be the visuals. By god, it’s bloody lovely. Better than a previz pre-render, I’d say.
Conclusion
Killzone 3 is more than a feast for the eyes; it’s like being force-fed high protein pixels. This doesn’t, however, make up for the forgettable story and dialogue so bad I almost wept in shame. Wrapping a game that looks this good in narrative this bad is shameful. Supporting Move is a brave choice, but aside from that and the support of 3D the game doesn't really bring anything the new to FPS gaming. Still, the gameplay is all there in abundance - bar the online co-op - so skip the cinematics, get a mate around with a few beers and you’ll be tearing new holes in Higs ‘til the cows are home, slaughtered and served up, medium rare.
SPOnG score: 87%