But both of these are precious, limited resources that require careful usage.įrom a defensive point of view, it's about tactical positioning and keeping a mental picture of your surroundings to ensure you're always looking at any threats. You've also got an array of over the top "Roulette" attacks where selecting the right move is a game in itself, and then there's the strength and speed boost of God Hand mode which is traditionally activated during fits of rage when the game's just made you look like a tool. To cause some hurtin' you need to temporarily get people off your back by working in the moves with the longer windups, ones that knock enemies across the room, up in the air, down to the ground or just leave them reeling, then get to work on anyone still standing. Getting close to an enemy and staying there is the most efficient way to deal damage to him, but it'll also let his friends take advantage of the Resi 4 over-the-shoulder camera and hit you from the sides, letting him return fire too. How does all this fighting work? From an offensive point of view, God Hand is crowd control. There's no EXPLANATION for this, the game just wants to hurt you.
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Plus God Hand's retro style means it's crawling with bosses, and defeating a foe will randomly turn the sky black, stop the music and spawn a leather-tough demon who will unquestionably wipe the floor with you on your first encounter. You're far more fragile than the enemies that come at you and going one-on-one against a weakling is sometimes even worse than a group because you tend to let your guard down and make stupid mistakes. Don't let the jovial tone fool you, this is a game than wants to take you to the cleaners. The fighting is fair, and it's deep, and it's really hard, and that's all that's needed to engage you.Īnd by really hard we mean really, really hard. It doesn't try and distract you from the game itself with level design, plot or the drip-feeding of abilities - God Hand's stages are cavernous arenas where the fighting happens. It gets a high score because it's a fighting game with really good fighting. That's just why it's a little more interesting than its po-faced hyperviolent competition. Get them into your own as quickly as possible, then BRING THE NOISE.īut all that's not the reason it gets a high score.
He's always grinning like an idiot, spoiling for the next fight and eagerly responds to the over-the-top speeches of bosses with such killer lines as ".like I give a shit!" Weapons hurt. Protagonist Jean acts just like we do, too. The game has an invisible studio audience that cheer or boo when you do well or screw up, and they laugh whenever anyone takes a shot to the sack. It's funny stuff, and God Hand makes sure you know you're meant to be laughing at it by distancing you from it. Sinister punk-looking men will even occasionally throw their mohawks at you, fighting on as baldies before their hair grows back with a flash. Kicks to the balls are kind of a feature, as are poison chihuahuas, spankings and endless trash talking. Brilliant!Īnything you've heard about God Hand is probably true. Awesome! But unlike Riot Response, God Hand is very, very clever underneath the idiocy. With God Hand, Clover has performed a similar feat of removing the pole from the arse of a genre, giving us a third-person brawler that lets us kick gorillas into space. It knew what people play FPSes for, stripped away the pretensions of the genre and gave us set pieces where we threw meat cleavers into a man's face, in slow motion, while he was on fire, until he collided with a gas canister and exploded. Take Urban Chaos: Riot Response last year. You've got to love the games that know they're games.
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