Top Ten Overrated Games.

Top Ten Overrated Games.

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So how many games have to past that was meant to be the number one game of the year or month but some how become very overrated ? well here ten that we think were overrated.

source : whatculture.com

10. Final Fantasy XV

Final fantasy XV
 

Metacritic: 81

One of the weirdest things about FF XV is just how close it gets to satisfying, yet at every turn there’s a crucial missing component.

Combat, whilst flashy, is a truly bizarre attempt at real-time third-person action where you hold buttons to pull off attacks, FF XII-style, forgoing any tactile feedback. Seriously, why the hell can’t any Final Fantasy game post FF X get combat right?!

You can’t control other characters so issuing item and target-based orders becomes the norm, and aside from seeing Noctis get rocked by a powerful blow – which puts him in a slow, lumbering state incapable of doing anything – you’ve got no sense of any real sense of a fight’s progression. Either you dominate in seconds or you’re knocked for six and forced to suck up endless amounts of potions.

Missions and story are far worse, with literal “Go get this and bring it back” fetch quests comprising 99% of the side content, and the main story beats themselves making zero sense. Until months later when it was patched out, we had a borderline broken, PS2-era ‘seen or not seen’ stealth section that saw Noct trawl through 45 minutes of corridors and nothing else. It came right at the close of the story when things were supposed to be wrapping up, and completely destroyed what little pace was present.

How this has a cumulative 81 score is beyond me.

9. Batman: Arkham City

Batman: Arkham City
 

Metacritic: 95

The decision to ‘go open-world’ has worked wonders for a majority of non-GTA franchises (2003’s Jak 2: Renegade says hello), yet when the appeal of your game is being mostly linear, atmospheric and focused on revealing varied levels in quick succession, Arkham City upended all of that appeal and replaced it with… not much else.

Rather than have a version of Gotham whose layout and open-ended nature factored into gameplay, Rocksteady simply took the components of what would’ve been ‘another Arkham Asylum’ i.e. hand-crafted levels with personality and character, and spaced them out across the city. This meant there was little to do other in between the chunks of the game that received the most attention than batter groups of thugs and indulge in FAR too many Riddler Trophy puzzles.

Arkham Knight would go further in this direction by implementing the roundly despised Batmobile and tank battles, but the very notion of taking Batman away from a more focused story and set of gameplay loops came in Arkham City.

8. The Elder Scrolls IV: Oblivion

elder scrolls oblivion
Bethesda
 

Metacritic: 94

There’s a reason the whole world freaked the F out over Skyrim – Oblivion just wasn’t that good.

Yes, it was the biggest world we’d ever seen on consoles to date, and yes there was an incredibly worthwhile feel to exploration and drinking in its various hills and valleys. However, the supremely unsatisfying combat, copy n’ paste village layouts and ‘seen one, seen ’em all’ feel to the Oblivion gates themselves quickly made many of us question just what was worth championing.

Retrospectively it’s testament to just how impressive that opening landscape shot was that Oblivion is held in such high regard, as scratch away at the surface and its gameplay has never truly held up.

7. L.A. Noire

LA Noire Cole
 
 

Metacritic: 89

The game that should’ve been phenomenal. A Rockstar-codeveloped detective thriller where you solved crimes using genuinely jaw-dropping facial tech to see when people were lying? How could it fail?

Well… by having said facial tech bolted onto a three-way accusation system; one that meant protagonist Cole Phelps ping pong’d between, “Yes, please tell me more” and “YOU DID IT DIDN’T YOU, YOU LYING SONOV-” and so on. As you can tell, this quintessential ingredient always tasted very sour indeed, and then you got onto things like the completely pointless open world, a runaway Crash Bandicoot-esque “escape the vehicle” segment (that the game let you skip, almost acknowledging its terribleness), and a conclusion that killed Phelps for no reason.

Though its aspirations were routed in a Vietnam-inspired “Platoon of soldiers come home and get embroiled in various crimes/revenge tales” setup, actually playing L.A. Noire just felt broken.

6. God Of War III

God Of War 3

Metacritic: 92

Talk about games that ruined franchises – GoW III took Kratos from “Revenge-filled antihero” to “Just kind of an a**hole”.

Across the game you’re treated to such delights as Kratos slaughtering the otherwise-helpful Cronos, throwing random prisoners into cogs to solve puzzles and worst of all, sleeping with Hephaestus’ wife Aphrodite – only for the former to find out, which results in him also being killed.

All these story elements were made even more unbearable thanks to yet more ‘square, square, triangle’ combos, and seeing the developers resort to “And then Kratos got angry and killed them” as the end to every scene.

It goes without saying that God of War: Ascension was mired by the overblown repetition present here, forcing Sony to go back to the drawing board and redesign what God of War even ‘is’ for his 2018 reboot.

5. Alien Isolation

alien isolation

Metacritic: 80

Nobody expected a horror game from RTS masters Creative Assembly to be up to snuff, but remarkably, it remains the best Alien game ever made.

Though… not a perfect one.

Perhaps down to the studios’ infancy in the horror genre, annoyingly they decided to really space out checkpoint placement for the sake of ratcheting up the tension. This would’ve been fine (ish) if we stood more of a chance against the Xenomorph, but again, in pursuit of establishing it as a fearsome foe, should the creature get anywhere close to you, an instant-kill animation kicked you back to the last save point.

Apply this model to a game with lots of keycard fetch-quests, slow patrol-watching so you can slink on by (only to get stabbed in the back) and a pretty poor idea of where the alien is outside of using a motion detector, and you have a game that looked stunning, but was a total dog to play.

4. Burnout Paradise

Burnout paradise

Metacritic: 88

When you have a franchise predicated on arcade racing, quickfire track/car selection and a set of mechanics like slamming other racers into the tarmac, DO NOT make it open-world.

Doing so widened the amount of potential course layouts, but introduced a somewhat ‘improvisational’ feel to going from A-to-B that was anathema to learning courses inside out. Where before you dropped into races to perfect specific turns and stunt ramps, now it was a case of triggering random checkpoint-chases, trying to discover a ‘line’ and mastering that instead.

The quintessentially accessible tenet of Burnout was gone, replaced with the 2000s-influenced ‘need’ to make everything fit an open world ideology. Needless to say, that killed the intensity associated with the franchise to this point, forced you into doing a TON of collectible-mining busywork, and ended up being the last proper Burnout Criterion would ever develop.

3. Persona 5

Persona 5

Metacritic: 93

There comes a time in every Persona fan’s life, when they have to admit Persona 5 just isn’t that good.

Whether it’s the languid pacing that means even 40 hours in, you haven’t been given sufficient motivation to continue, forgettable characters that receive only a handful of personality traits seemingly plucked from a hat, the pointless dialogue options that don’t change anything or the horrifically awkward way the game leers at its female characters, the heart present across Persona 1-4 just isn’t here.

Honestly, it takes upwards of 55 hours for anything resembling a conflict or interesting story point to emerge, as before then you’ve got repetitive dungeon designs, over-tutorialisation of basic elements and overblown enemy characters who appear evil for evil’s sake.

Its turn-based battling feels snappy and engaging in the moment, but when after 10, 20, 30 hours, almost nothing has changed, that’s a real problem.

2. Fallout 4

fallout 4 bug glitch
Bethesda

Metacritic: 86

On track to be the most overrated video game of all time, to this day it’s impossible to fathom what hold Bethesda has over both critics and fans alike. Yes, there’s since been a somewhat noticeable pushback against Fallout 4’s incredibly positive standing, but “Game of the Year 2015”, “one of the best open-world games ever” and being “incredibly innovative”?

Come.ON.

Back in 2015 you couldn’t move for GOTY nods and pure critical adoration – sentiments that were backed up by Fallout’s legion of parrot-like fans squawking in tow.

In reality, Fallout 4’s reuse of its predecessor’s tech was abundant from minute one. Outside of the litany of bad animation and character/environment clipping, thematically it just didn’t add up. We had a character who didn’t react to a world where life as he knew it was eradicated and replaced by nuclear Super Mutants, and story-wise the setup of retrieving your infant son was completely replaced by arbitrary fetch-quests and the Minutemen faction deciding you should be their new leader… after five minutes of conversation.

Awkward and misplaced settlement-building systems, character progression that mirrored everything we’d done before, forgettable locations and a bad Pip-Boy interface all compounded to make this one of the weirdest triple-A games in history:

All the money invested and reaped thereafter, but none of the quality execution.

1. Uncharted 4: A Thief’s End

Uncharted 4
Naughty Dog

Metacritic: 93

Sorry, Uncharted fans, but if you were to assemble a list of reasons why the franchise is worthwhile, ‘gameplay’ would very much be at the bottom.

Indeed, we play through these games because of their exemplary characters, cutscene direction and loveable interpersonal dynamics. Nate and Sully are a pair that outdo the majority of Hollywood action duos from the last two decades, and yet when we get to gameplay, it’s a bizarrely awkward-feeling blend of dynamic cover systems and run n’ gun set-pieces.

However, despite Uncharted setting Drake up as a bullet-dodging rogue who just scrapes through every fight, attempt to role-play that by taking on entire legions of foes and you’ll be cut to ribbons. General aiming feels soft and unreliable as your POV pings in response to getting tagged, and though A Thief’s End does give you an optional lock-on, it doesn’t change the fact that the entire back half of Uncharted 4 in particular turns into one hell of a slog.

Following the revelation of Sam’s betrayal you’ll only be gunning your way through platoons of hapless goons as a means to see the next portion of the story. Repetitive crate puzzles and barely implemented stealth sections add ‘variety’ to all the head-blasting, but even if you enjoy this stuff, getting one-shot-killed by a distant grenade launcher is nothing but infuriating.

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