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It’s boring, frankly, and they add nothing to the game besides tongue-in-cheek humour.Ĭapcom has brought back photography, which is as much fun as it was in the original as you attempt to capture the best shots in several categories such as Brutality, Horror, Drama, Comedy and Special, which are one-time shots of specific scenes or items. Psychos are replaced by Maniacs, usually optional encounters that require you to simply kill a bunch of standard enemies and one slightly stronger one. Vehicle handling is fine, and some of the combined vehicles are great fun, but you’ll spend a lot of time ploughing through zombies between points A and B, and it loses its appeal quicker than you’d expect. That would be fine, but when there are hundreds on screen at once, it’s horribly noticeable. For a start, under the light of day the zombies look far less impressive, and you’ll begin to realise there are only around a dozen or so different models. Once outside in the town itself, cracks begin to show. The opening few hours inside the complex are great fun, evoking memories of the first game and presenting a game-world absolutely crammed with ingenious weaponry and silly costumes. All safe zones are linked to the Mall, which is a good thing as that’s where the most fun is to be found. Safe zones are all identical, and once cleared out will re-populate with vendors who sell food, weapons and blueprints, vehicles, clothing and maps. Maybe it makes sense – after all this is a world where zombies are kind of old news – but it’s a bit disappointing. The survivor will then run off alone, never to be seen again. The escort missions are gone when you see a survivor battling zombies, all you have to do is clear out the immediate threat to earn a reward. Unfortunately, though, the mechanics have been dumbed-down considerably. Caught between a military outfit called Obscuris who are hunting down a dangerous new breed of super-zombie and a community of survivors led by a Governor-like fanatic, Frank, as always, follows his own interests first, with unintended consequences. Frank is a blast, a rugged rogue with an Ash Williams-level of abrasive sarcasm. The story is decent enough, ably bolstered by great voice acting and a genuinely funny script. The government have contained it, but Vick is already there – and so Frank cancels his Christmas plans and heads back to Willamette. The Memorial Mega-Mall is under attack by zombies once again, this time spreading through the town at the height of Black Friday mania. It isn’t long before he’s contacted by Brad Park, director of the ZDC, and told about a new outbreak in Willamette. The secrets they uncover there lead to the dissolution of their relationship and Frank ending up a fugitive on the run for the next four months, going by the genius alias of Hank East.
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He’s teaching young, impetuous prodigy Vick Chu, and agrees to take her on a covert mission to a top-secret military base to give her a first-hand taste of how to cover wars and stir up shit. Set in the December of 2021, 15 years after the original outbreak, Frank is a 52-year-old photography professor still living on his reputation as the “Hero of Willamette”. He rarely acts in the interest of others, but always seems to come out like the Saviour. Frank is mean, he’s selfish, he’s the most accidental of accidental heroes. That’s perhaps the best news, to be honest, as Frank’s neolithic, opportunistic, alpha-male attitude makes for a likeably-unlikeable protagonist who’s infinitely more interesting than Dead Rising 3’s two-tone mechanic, Nick Ramos. What’s apparent in Dead Rising 4 is that the consistent slide from “tense, claustrophobic thriller with added fun” towards “mindless zombie murder with added missions” has continued and, sadly, the results aren’t as positive as we might have hoped.īut first, the good: Frank’s back. The sequel balanced some issues and bred more, and it was a long time until Dead Rising 3 shambled into the launch line-up of Xbox One and almost, almost, found the sweet spot. The original Dead Rising polarised critics and gamers in 2006, its dedication to cathartic, slapstick violence either marrying well, or clashing with (depending on your stance), its insistence on strict time constraints, escort mission busy-work, and maddening boss fights.