The Walking Dead Season 3: A New Frontier Game Review
Grasping storyline. Participating characters. New engine continues to work wonders for visuals.
Continued framerate frustrations. Some lip sync inconsistencies.
The Walking Dead Season 3 makes two really powerful beginnings. Dividing the very first episode into a two-parter means enthusiasts are treated to a double whammy of superb storytelling and get to spend more time with these instantly engaging and relatable characters.
About The Game
Despite getting more IPs than Disney, Telltale has returned to the property of The Walking Dead. After Season Two neglected to reach the highs of the first, Season Three beginnings in the strongest possible manner with a really striking two-parter. By presenting apparently impossible choices between relatable characters in the finest-looking game we’ve seen from the programmer to date, Telltale has done a great job recapturing what makes the game so compelling. It’s only a pity that performance is still a problem.
While the last two seasons focused on youthful Clementine, Season Three brings us a new family – the Garcias. We join them on the day of the outbreak, Javier is sprinting house before the passing of his dad. Neglecting to make it in time he gets a fairly hard time from his brother.
Instantly characters are confirmed: Javier is the favourite letdown, his brother the heavyhanded envious-kind. While the remaining part of the family mourn, it turns out “papi” isn’t too dead. Seeing the mayhem unfold we’re snapped several years after to the present day, where all that’s left of the Garcias is Javier, his niece Mariana, nephew Gabe as well as their stepmum Kate.
Preceding Walking Dead games have focused on Clem’s skill to invent new relationships and families on the road after losing her own, but the manner season three starts off by revealing the decimation of a real family as well as the remains of it meant instantly felt close to them.
Javier and Kate are both nicely voice-behaved, their dialogue in the automobile shows the fights they’ve experienced, along with an underlying sexual tension which exists between them. Don’t stress, Mariana and Gabe are asleep in the backseat.
As soon as they wake up we get to find more about them: Kate is soft spoken and certainly influenced by the terrors she’s seen, while Gabe has more perspective than WWE in the 90s. He’s definitely attempting to don the job made by his late father as the alpha male but does so with a brooding, pouty quiet.
The brand new game engine Telltale, which adds micro-expressions, makes it simpler to confirm a character. The awkwardness in Javier’s face when Kate says she “needs to get put”, as well as the misery concealed behind Gabe’s rage when he talks about the solitude of the street. The brand new machinist can be hit and miss, though, with some expressions lacking the subtlety of others – Maybe an effect of the new animation technique being layered in addition to the old one?
Being a real Walking Dead Telltale game it’sn’t long before the stuff hits the fan, as well as the programmer reminds me that it’sn’t the ‘Walkers’ we have to worry, but the darkness of the folks still around. As such, after a run in with members of “The New Frontier” – a cryptic group looking to ramshackle everything they discover – Javier finds himself kidnapped and separated from his family. The New Frontier didn’t find where Javier’s family were hiding amongst a junkyard, and every alternative felt like a great danger, with very anxious dialogues and staredowns throughout.
It’s not long before Javier meets the apocalypse’s toughest kid – Clementine. Once again Clem is older, wiser and a hell of a lot more demanding, also. After saving Javier, I reached a reciprocal understanding where she’d help him return to the remainder of his family. Telltale grants the capacity to transfer saves over from past seasons or response questions predicated on scenarios from them to be able to shape the sort of character Clem is.
While the story is excellently-written, it helps the new graphics engine presents a far greater game, also. The characters seem the best they ever have, with impressive lighting effects and new camera shots that actually make the action sequences a lot more cinematic. Tracking shots as Javier moves through a swarm of walkers and speedy pans and zooms actually increase the play.
It isn’t until the climax of part two it becomes clear why Telltale made the show’ introduction a two-parter, but doing so works wonders for the story. It supplies the match time to develop these brand new characters.
But having talked to other players, found out how varied the game can be, also. Telltale games in many cases are criticized for offering the mirage of selection while finally funneling players towards the exact same decision, but the end of my episode was entirely different to others. Additionally, determined by the Clementine you create, flashback sequences will soon be totally distinct, depending on who lived in season two.
Sadly, as great as the narrative is told as well as the game appears, functionality is still a significant difficulty for Telltale. Framerates continue to jar, and quite seldom keep a consistent 30 FPS, which at this stage only becomes an enormous frustration and unsatisfactory anticipation. Despite each of the progress found from the Telltale games, the power to run consistently well has never been something to get better.
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