, we wouldn’t exchange it for a season’s commutation ticket on most of the similar vehicles running out of Hollywood.” So wrote Theodore Strauss in the New York Times of December 30, 1940. Never before or since has such a terrible game been presented so delightfully and in a way so pointed at my specific tastes.“Wittily written and spare as a coded message. This above trailer is always the first thing I think of when I’m skeptical of game marketing. Neither of Reality Pump’s other questionable RPGs had anywhere the hype of Two Worlds. I never played Raven’s Cry but after hearing how horrible it was I’m not broken up about it. It’ll probably sucker me in all over again. Mimicking the baffling success of the first game, Two Worlds II has sold well enough that it received not one but two entire engine overhauls, and got new expansion content as recently as last year. The marketing images for the second game you’ll find on digital stores wisely exclude the first area. It presents a strange first impression and somehow just keeps getting weirder. The opening desert area then has you fighting a lot of….ostriches and chimpanzees (which I did not enjoy). In Two Worlds II, the story is presented more clearly and acted with Power Rangers-like melodrama (which I enjoyed). It’s not a great game but it’s at least one that you could finish if you like it enough to play past the first four hours. Two Worlds still sold well enough to spawn a deeply weird sequel with much better graphics, sound, and…everything. But like many initial customers, I sold my Xbox copy before finishing it. If you found the right gear, you’d go from barely standing a chance to crushing all nearby enemies in a handful of minutes. The weapon-combining system quickly made your character overpowered. That bug, and many others, still remain in the Xbox version to this day. Most frustrating for me personally, the game has an awful sound bug where every effect and voice in the game is hard-panned all the way into the left or right channel instead of emanating from the proper direction. On PC, the game was finished enough that you can find some fun in it. It constantly feels like the whole thing is about to fall apart under its own weight. The graphics are plagued with random pop-in and what can only be described as intense jerkiness. The controls are awkward and the menus nonsensical. The story is hastily and badly explained in the first few minutes, and the plot never falls into place. Unfortunately, it turned out to be completely terrible. I’m happy that a random trailer-uploading channel had this video archived, because it seems to have been mostly wiped from the internet So well that the music from it still randomly pops into my head. The trailers for the game were incredibly exciting. It had music by the epic legend of synth himself, Harold Faltermeyer, composer of some of the most iconic film soundtracks of all-time.Īnd oh yeah, its other ace in the hole was full multiplayer on both console and PC. It had a goofy weapon-combining system where you’d slap two swords together to make a more powerful sword, which was weirdly ahead of its time if you look at the way loot systems work in today’s mobile games. If you could find the final boss right away, you could try to fight him! It had open forested landscapes, with the same promised level of freedom that older RPGs had. I was all-in for this game before I played it. They ran out and licensed the exact same pile of middleware that Bethesda used to make their big hit, and cobbled together a “more-exciting” clone. Reality Pump was just an obscure studio that mostly made strategy games, and they had decided to cash-in on the hype and fan base around The Elder Scrolls IV: Oblivion. Official Promo Screen from the Two Worlds Steam store page,
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