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A Plague Tale: Requiem Review – A Bold Epic


Going into A Plague Tale: Requiem, developer Asobo Studio’s sequel to 2019’s A Plague Tale: Innocence, I prepared for the usual leap in quality and scale that most sequels take. catch. However, I underestimated how important that leap was. Calling Requiem a standard sequel is an objection; Asobo created an epic about Plague Tale. It feels Odyssean in scope and storytelling capacity. Although much of it came to me at the end of my more than 20-hour journey through medieval France, the game feels strained by its sheer size, especially in its first half. However, I am more impressed by Requiem’s ​​boldness and near-total improvements than not.

Requiem begins about six months after the events of Innocence, and while it’s possible to piece together what’s going on if you’re new to the series, I highly recommend playing Innocence or at least starting it up. keep up its story before Requiem. Siblings Amicia and Hugo de Rune are looking for a blend of a normal life, despite Hugo’s rat-infested Macula. And for a while, the game showcased how normal that was for Amicia, Hugo, and their mother. However, as you might have guessed, the Macula plague began to rebuild its ugly head again, forcing Amicia back into protective mode. This shift sees Amicia, Hugo, and the returning alchemist Lucas travel south to a mysterious island, searching for answers and a cure.

I’m excited about this change in settings and all that “new” it brings to the series, but it took way too long to get there. At least half of this game is spent escaping your new home to a sailboat to the island. Don’t get me wrong, these 10 to 12 hours are a fun Plague Tale, but they’re so similar to Innocent that, at times, it hardly feels like the refreshing experience I’ve come to expect from a sequel. follow. It’s mostly stretched, though I’m meeting characters that will become some of my favorites in the game, like the tough but soft-hearted Arnaud or the pirate queen Sophia. The fact that I ran into various technical issues like distracting (but not game-breaking) framerate drops, visual glitches, and an outright hard crash didn’t help.

However, when I arrived on the island, my mindset completely changed. The story picks up pace and excitement, introducing new allies and villains, a cult, intriguing lore, and a new mystery that envelops me. Even mechanically, the island represents a miniature open world to explore, more spread out than any other in the series. The way the game’s story drags you here and there on this island is interesting, whether you’re solving the mystery of ancient underground ruins or fighting the secret slaves that waiting for the Child of Embers. By the end of my playtime, I felt like I knew its layout well.

This part of the game impressed me the most because everything shoots at all the cylinders. Ingenious puzzles that let you manipulate the rats’ aversion to fire to make them stealthily take down enemies always pleased me – using a special ammo to extinguish the enemy’s only fire , allowing the rats to eat raw meat, never getting old. The twists and turns of the story leave me guessing, as does the island’s central mystery.

Requiem is also visually stunning, as Asobo has created an almost textured look to the game with its unique and playful color palettes, which brilliantly complement the medieval setting. I recall the moment when it seemed as if everything around de Runes was collapsing on top of them, and Requiem represented that visually with a unique, almost grayscale, color palette that increased metaphorical darkness. Surrounded. In other moments, I find myself pausing to tinker with my photography mode to capture the colorful beauty of the flowers blooming on the shores of this beautiful island. Requiem is truly a treat for the eyes.

Elsewhere, scenes like Crash Bandicoot that see Amicia flee from the giant swarm of rats toward the screen or sprint in the opposite direction to safety, have been particularly welcome from those the game’s quieter yet tense sneak moment. These segments speak to the more melodramatic nature of Requiem, which sometimes goes to places where I can totally screw up here and I don’t think you believe me anyway. Once again, I want to emphasize how monumental the scale and size of Requiem is – it is bigger than Innocence in every way. Even beyond the story, new additions to Amicia and Hugo’s arsenal, such as the hitting crossbow (don’t rely on it too much, though, as arrows are hard to find) or the ability to control the mouse and cannibalize Hugo’s enemies around you, raising the game’s time from moment to moment.

However, despite what I liked about coming to the island, I can’t help but feel that Asobo may have cut a big part of this game. That’s not to say the parts I wanted to undercut were bad – they’re good due to A Plague Tale’s quality gameplay and storytelling – but they feel like unnecessary accompaniment that gets in the way of Requiem’s ​​pacing.

I was relieved when the second set of Requiem credits was released. Not because I don’t like to play the game, but because de Runes’ journey in this game is very intense and stressful. At times, it feels strangely too long and brutal to focus on inflicting sham, pain, and suffering on de Runes. Other times, I admire Asobo’s command of the series, its rat-infested stealth mechanics, and its epic storytelling. Fortunately, the latter outperforms the former, and Requiem feels like more than a sequel. With the journey behind, I’m excited about where the series can go from here, but if Asobo plans to take a break from the franchise, rest assured that Requiem will launch with a bang statue.

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