now they need it on the playstation network / etc.

Well, the solutoin to that is actually quite simple!

You see, the problem (or one of the biggest ones) with Bioshock is that it went in 2 opposite directions at one: it tried both to create an interesting, “alive” world and it tried to create a good old “gamey” world. In other words, whenever creating a new “level” the meetings must have gone something along the way:

Boss: Yeah, make this shit or that, but don´t forget though: this is still a game! (proceeds to exit the room)

Employee 1: Well, we haven´t put enemies knee-deep in water in a while, and we sure don´t want the player to forget that this is not just another FPS!!

Which is the exactly opposite way to go. Bioshock should not justify its gameplay (or if gimmicks, to be more direct) with its design: if anything, it should be the other way around!

I mean, guys, do you or do you not want to portray an utopia gone wrong? Well, if you´d really wanted to do that, then do that and THEN make a game around it, not make a series of connected boxes to mask them as an “interesting/creepy place”.

That sounds a million times more entertaining than the actual “Pirates of the Caribbean” ride.

Also, Zwei and a Sega Saturn aren’t terribly expensive. You should be able to find them both for $40 or $50 tops at a flea market or pawn shop.

although i havent played zwei, it sounds to me like the same sort of thing is going on with both games.

While I’m fairly confident that, as in every instance where I’ve followed one up, the ABDN piece will ultimately be far more engaging, enthusing and all-out-fuck-yeah than its actual subject, it can’t hurt to give the game a few hours anyway.

Orta, in trying to “outdo” Zwei, adds all these clunky “features” and “systems” while in the process forgetting some of the simple things from Zwei, the kind that you don’t notice until they’re gone. The radar no longer has warning highlights to show where attacks might be coming from, the quadrant system doesn’t make sense when the level’s “rail” follows a convoluted path that forces you to flail around like an idiot, the story is forced and really silly rather than mostly wordless and unassuming…

The most telling contrast might be the point, in both games, where your grounded dragon is forced to jump into the air and fly. negativedge explained exactly why it’s so effective in Zwei. In Orta, this happens at an insignificant point halfway through the game, during a cut scene, which immediately throws you into a boss.

Oh, and I’m really lovin’ how this whole Manifesto thing is turning out, man. Amazingly, most of your readership (icy aside lol) seems to actually be taking it quite well!