Actually, the most impressive difference we saw in the game's E3 build was the implementation of Bear McCreary's amazing music
. We apologize if you're sick of hearing our praise for the Battlestar Galactica
composer's work, but we feel like we can't stress this enough -- it's a beautifully composed score that changes dynamically depending on how you're playing the game. Flying through the air? Sweeping orchestral themes and brass overtures. Hopping between vertical cover points and dodging robotic gunfire? Fast paced percussion and Ondes Martenot fills.
The gameplay reaches levels of freshness few games are able to tap into.
We also got a chance to check out an early level in the game -- a level that occurs before Will gains his oft-lauded flight capabilities. When you first acquire the jetpack, you're only able to do a simple double-jump and hover. While you're floating, enemies on the ground have a hard time hitting you. Said enemies also have a proclivity for hiding effectively behind cover -- sometimes, the best strategy was to rocket upwards from behind your own cover, and pick off enemies as you slowly descend.
Mixing that gameplay mechanic with the standard cover-based gameplay we've come to expect from third-person action titles helps to keep things really fresh. When you finally gain the ability to fly, and some of your adversaries become similarly airborne, the gameplay reaches levels of freshness few games are able to tap into.
Our opinion remains unchanged. We love what we've seen from Dark Void