Hellboy makes demons seem clobbering simply-because they are.
As a longtime Hellboy fan, it never ceases to amaze me that there are hopelessly few video game adaptations of the exploits of the great red monkey devil. There is a lot to like about the almost 30-year-old Hellion, from his appearance to the fabulous supernatural world in which he sneaks to right wrongs and protect the innocent, through the often touching pieces of self-reflection in the many stories that address themes such as loneliness, discrimination, the creation of a Seven-hour with Web of Wyrd were a good reminder of the challenges of transforming such a complex work into an interactive game where our actions count. Although it nails much of the look of graphic novels, Web of Wyrd swaps substantial stories and characters for an entertaining but low-stakes action-packed adventure whose rogue elements don’t action hard enough to blame the stubborn devil.
At first glance, Web of Wyrd is just as grumpy as the Hellboy books since 1994. even in three dimensions, the characteristic bold lines, flat shades and not very detailed faces seem authentic to the series. The baroque shadows and lighting are even more effective when you walk around the dark rooms of your base of operations than in the still images, and when you travel through the eponymous Wyrd – a parallel Dimension built on the memories of ancient fables and Folklore – the European expressionist inspirations of the page feel fully realized through the use of the
As a reader who gave my own voices to the classic Mignola characters in my head, it took a few races to really like the cast of Web of Wyrd, but every Agent, spirit and goblin helps this old noir-meets-foolish-macabre style to jump off the pages and into a world that may not seem real, but that seems The greatest adaptation period was with Hellboy himself, voiced here by the after great Lance Reddick, who adopted his smooth and precise cadence that gives Big Red a flavor that I will always associate with him. the future (sorry, Ron Perlman). His supporting actors are good, but the absence of iconic Hellboy characters like Liz Sherman and Abe Sapien was hard to ignore.
The plot is a solid caper that would fit well into the pages of a Hellboy comic arc. After settling into the haunted butterfly house, the BPRD strives to uncover the secrets hidden in the Wyrd. As Hellboy makes his way through this constantly evolving picture book universe, the rest of the team observes his progress and analyzes the things he learns and brings clues. The intelligent and impactful dialogue of the books is at the center of Web of Wyrd, but the striking moments of reflective prose and significant events that make the main character so multidimensional and endearing are sorely not found . Instead, he trades Introspection for Action, and although he tells a somewhat balanced story full of secrets and intrigue, it’s not in a way that stands out among the best Hellboy stories.
The Wyrd itself is a mercury labyrinth divided into four levels with different themed environments, such as a Mediterranean kingdom or a shady English forest. Unfortunately, this is only really relevant with regard to the types of monsters that you are going to overcome in them, because each world is set up with the same spaces and special events that reassemble randomly with each new race, but they are suitably capricious and help to establish the strange Tone of this chaotic country. Making progress to the end of each world means entering the rooms, overcomeing each plain cup inside and moving on to the next through longer paths that sometimes harbor traps that are easy to avoid. However, unlike something like Hades, your progress is not constantly facing forward. Instead, you will go back a lot to open the doors of the rooms that you have visited before after finding the appropriate keys.
This is a good start, but the problem is that even if the maps get bigger, they are not more interesting to explore. You discover each new type of space or Buff quite early in your approximately seven-hour adventure, leaving little new, and apart from the seemingly endless total of knowledge scattered randomly on the many maps, there is no Motivation to inspect every nook and cranny. Each of the four worlds is a multi-storey labyrinth, but never more than three floors; I really appreciated that a race through the Wyrd was a relatively short 20-minute undertaking compared to other race-based games, where attempts from start to finish can take an hour or more.
The key strength of Web of Wyrd blends well with the style of Hellboy: it’s fun to overcome the inhabitants of the scary pocket dimension, at least until they figured out to aspire to a worthy opponent. The action is simple and easy to learn, with a competent game in which you have to mix light and heavy actions to deplete the regenerating tenacity of the enemies in order to make them vulnerable and permanently damage their health. Using the heavy power action to bounce monsters off walls and pillars is nice every time and is a great way to build up your stun gauges to leave them open to big damage. Dodging and blocking becomes an almost unconscious response after a while, as the enemies heavily telegraph their movements and do not do so much damage to their own indicators of toughness and health that they would be prevented from staying and weathering the storm until they had a chance to retaliate. Even the Mooks – smaller enemies that fill the room and seem destined to distract you and strike you free strikes from the outside- present almost no real challenge.