Sentences with phrase «into combat it feels»

What ends up happening it every time you go into combat it feels repetitive with only one style.

Not exact matches

Movement helps combat depression in a variety of ways, including releasing feel - good chemicals into the brain.

To combat this feeling, I've started finding pieces from summer that I really love and focusing on working them into my outfits as much as possible.

All performances remain irrelevant in the face of such expensive, explosive combat and destruction, and there the film excels: You will feel blown back into your seat, starting 40 seconds into the story.

Monster Hunter: World manages the balance between staying true to the series» ideals and the addictive loop of combat with intimidating monsters and meaningful upgrades that fans love, while also taking a dramatic leap into a look, feel, and size that feels truly new.

if stickers had more than one use than the game might be better but in the end it feels like you are wasting more uses than gaining by entering into the lackluster combat.

Nioh moves Souls - like games into their own genre by expanding the vocabulary of combat mechanics and gameplay systems while keeping a structure, flow, and feel that align with From's signature games.

It really does feel as though the original game was just a demo to get people's thoughts on the combat; while the sequel took those ideas and expanding them into a proper action game.

It feels much more modern than its predecessors, and though it lacks the depth of the combat found in games like BlazBlue or Street Fighter IV, the inherent accessibility in the game made it easy to pick up and play, and I found myself diving into the game's training mode and performing advanced offensive moves with ease.

How characters fit into these styles of combat differs, but as is the norm for NetherRealm's games, most attacks feel hefty and deliberate at first.

Combat's generally more fun than Dead Island, with explosives and the ability to kick zombies into spike traps, but so far it does feel similar.

It was a very clever way to implement combat mechanics into a spooky exploration game back in 2001, in the very first Fatal Frame, and since it's never really been overdone, it still feels like a clever mechanic.

Scott experiments with visual symmetry — layering little framing eggs meant to clue careful watchers into later reveals — and champions nimble combat over the brute force trauma that's so often a staple of the genre but more often than not, his visual style feels flat and derivative.

World takes a dramatic leap into a look, feel, and size that feels truly new, simultaneously staying true to the series» ideals by maintaining the addictive loop of combat, intimidating monsters and meaningful upgrades that fans love.

Mid-range firefights and close - quarters combat feel more like a fatal dance in and around the structures plopped into the environment.

In addition the online servers are now global so you can play with people from all over the world and the combat has been re-worked, speeding up the whole process and allowing you to combo different abilities into one another which makes it feel a lot more fluid and less clunky than its predecessor.

From the retiring, battle - scarred military veteran drawn reluctantly back into battle, to the virginal rookie, to the shell - shocked combat vet, to the brave grunt just fighting for citizenship, Bertolini's screenplay is so saturated in wartime stereotypes that it feels like it might just sink until characterization mercifully takes a back seat to action.

It's inclusion is pleasing because like Treyarch's Combat Training mode it provides a way for newcomers and even veterans to get to grips with the new maps, weapons and pace of the game, allowing you to at least prepare yourself a little for the transition into fully competitive games, but the idea of having one real player per team (sometimes more, depending on the mode) feels daft and pointless.

As a result, combat begins to quickly feel repetitive as you continously hammer out the same string of inputs, and while the different enemies do a decent job of keeping you on your toes, by about half - way through the game I rarely found myself having to go into the Combo Lab and change - up my Pressens as I had already combos built for the most common scenarios.

My only complaints with Blade Mode is that the blue line which represents your swing can be a bit of a pain in the butt to see when the action is in full - swing and your desperately trying to slice everything up, and it doesn't always feel like it flows well into the core combat mechanics.

Despite choosing a stealthy build for my play through, I had a heavily modified combat rifle that could lay down some serious firepower should I ever feel like blasting things into little pieces.

For the combat system, I feel like the amount that you need to dive into its complexities of min - maxing correlates highly with how far you actually want to go in the game.

After seeing the last video, and how the motion capture has translated into current combat animation, I feel much more confident and excited.

Whereas I'm ten hours into Dark Souls 3 and I still don't feel as frustrated as I thought I would be and I'm almost disappointed in the ease of combat.

The result is still a game that often feels like a stunningly confident, competent shot across the bow of the open world genre, folding in an incredibly strong narrative and a good sense of consequence to the decisions that present themselves throughout, presenting a fun bit of combat creativity into a genre that desperately needs it.

The fast - paced combat is fluid and smooth, the visuals are a spectacle to behold and the sound effects can make you feel like someone just crashed a TIE - fighter into the side of your house.

Despite my best efforts, I couldn't get into the story, I didn't feel immersed in the combat or experiences I was receiving.

Ultimately, Platinum has put in the work to create combat systems that feel great, but that also interlock into something more than the sum of the parts.

When you jump into combat, it feels like a brawler.

Occasionally you do get a chance to set up traps away from an enemy and then engage them before luring them in, and it does feel awesome when you do that, but generally the only real way to use traps is to roll away from combat and quickly hit the button that causes Geralt to go about his business, but that sort of feels like cheating when the enemy happily walks straight into the trap he just watched you set up.

What really makes the combat stand out, though, is how much effort has gone into making the player feel like a real badass.

In encounters with the undead, one bite instantly kills you, so even lone zombies can pose a threat if you're not on your guard, making for a beautifully tense experience that demands cautious play ahead of Call of Duty style running and gunning, though it has to be said that some deaths can feel a bit cheap, particularly later in the game once exploding zombies (these are however fortunately relatively rare) are thrown into the equation, whilst the more crowded fights can feel a bit too demanding for the somewhat awkward combat on occasion.

Once again it is in the early game that Hyper Light Drifter is let down, as with none of the sword's upgrades — which mix up combat with new moves and abilities — it's left feeling stale and repetitive, forcing you into a tight move structure, straying from which results in certain death.

While Bhikkhuni «s core gameplay is still the kind of high - speed, combo - frenzied combat that any Senran Kagura fan would feel comfortable diving right into, there are a few noticeable differences.

Combat in Fear Effect Sedna feels restrictive and can be a real drag when you're forced into engaging enemies.

«Titanfall 2's single - player is crafted to dive deeper into the Titanfall universe, exploring the unique bonds between Pilot and Titan, and taking full advantage of the movement and combat, to deliver a feeling a feeling of being -LSB-...]

The limited ammunition and supposed focus on stealth make this more of a traditional survival horror game than recent Resident Evil titles or even Dead Space, but the game's heavy focus on combat turned my feelings of dread into frustration quickly.

Whether it be gliding in the air with her tentacle spinning like helicopter blades or slinging an enemy into a nasty looking Goat, Scarygirl's combat system is enjoyable despite it feeling a bit loose.

The ability to sort of «pause» the moment of battle and go into an even more depth strategy based method was nice too for the times where you felt that just brash combat and going from enemy to enemy might not be the best solution.

This is a welcome addition, one that I'd like to see fleshed out in future Wolfenstein games: it makes the most of the game's excellent - feeling guns, and offers a way back into raw combat for those unwilling to sit through the cutscenes and stealth sections again.

• Brutally realistic combat — The brutality and intensity of Roman warfare are brought to life in visceral detail, thrusting the player into the chaos of close - quarters combat, where you can see and feel the emotion on your opponent's face.

It's clear that all the effort that's gone into the combat and character development has left other elements of the game feeling unfinished.

Stepping into combat for the very first time, you'll instantly notice that framed sprites are now replaced with fully rendered three dimensional Pokémon models; feeling more alive than before, gameplay animation has been immensely enhanced.

Okubo said that the bullet - time combat moment is meant to replicate the cinematic feeling of dodging or parrying a weapon strike, folding that into a counter-attack.

While combat can often turn into a circling swarm, there were times when I actually felt cool and tactical: launching countermeasures, swooping through debris to lose a tail, quickly slowing down to drop back, and physically turning my head to put my missile reticule on my enemy.

This deft presentation turns the combat into an elaborate dance that looks just as smooth as it feels.

As we wrote in our first look: «the first couple of hours spent playing Dead Cells feels like a grind — a grind with excellent combat — but once the world structure and how you'll traverse it opens out, it turns into something potentially great.»

The opening cinematic feels like a movie unto itself, and each successive segue from combat into the story is like opening up a new Christmas gift.

The brutality and intensity of Roman warfare are brought to life in vivid, visceral detail, thrusting the player into the chaos of close - quarters combat, where you can see and feel the emotion on your opponent's face.

While the game might be lacking in totally realistic aeronautics, the planes generally have a believable feel to them and it is easy to jump into the game, familiarize yourself with the controls, and be into the combat within a few minutes.