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• #Call of duty black ops declassified series#

It sounds like every other Call of Duty game: explosions sound explodey, expletives shouted in random foreign tongues are present and correct, and Mason and Woods are just as foul-mouthed, gung-ho and macho as they ever were. SOUND: There isn’t much to say about Declassified’s sound direction. It’s frustrating enough to die on a regular setting when you can see your enemy, let alone when you’re blindsided by muddy graphics and technical incompetence. The situation isn’t helped by collision glitches on every second piece of scenery or visual bugs that, on more than one occasion, combine with the overpowering brown-ness to render the identikit enemies almost completely invisible. When you consider that Bend’s Uncharted: Golden Abyss and Ubisoft’s Rayman Origins were launch titles and managed to look excellent on the smaller screen, the piss-poor aesthetics in Nihilistic’s shooter smack of rushed work.

Poor character models, ugly textures and the patina of dull brown that coats everything conspire to make Black Ops: Declassified one of the least visually stimulating games available for the Vita.

GRAPHICS: Despite reports that Nihilistic went back to work on Declassified’s visuals following a poor response at Gamescom 2012, the game remains incredibly drab throughout. With Declassified, Nihilistic strip away all that hard-fought credibility in a matter of moments by essentially cramming a bunch of nondescript shooting galleries together and making the only common denominators lacklustre writing and creative bankruptcy. Even calling it a “story mode” is an insult to story modes everywhere, and even if the intention was to bypass narrative and deliver bite-sized blasts of Black Ops-flavoured excitement, Nihilistic have failed, not only because the whole sorry affair is over in an hour but also because it’s one of the most hollow and soulless shooter experiences ever devised. With Black Ops II, Treyarch did something no one thought was possible and delivered a compelling, affecting and, above all, spectacular campaign narrative. The characterisations of Mason and Woods are pretty spot on, but the brief, sparse dialogue they have (which boils down to occasional observations during missions) simply serves to remind us that they’re both sweary, unlikable douchebags who we don’t care about in the slightest. Short cutscenes between these missions offer up feeble connections to Treyarch’s games, but not in any way that matters.

#Call of duty black ops declassified series#

Instead it’s a series of disjointed, largely unconnected missions featuring Alex Mason and Frank Woods that makes for a patchwork narrative which neither gathers pace nor even pretends towards real coherence. STORY: To begin with, Declassified’s “story” is barely that. But have they created a shooter worthy enough to carry the illustrious Call of Duty name? In a word, no. Hoping to trump their previous efforts, developers Nihilistic have taken the reins of Call of Duty: Black Ops: Declassified, attempting to bring the bombast and spectacle of the bestselling franchise to Sony’s handheld. Resistance: Burning Skies is fairly decent, but compared to its home console cousins it falls flat in almost every way.

If there is one thing the Vita is crying out for, it’s a decent first person shooter. Game: Call of Duty: Black Ops: Declassified