https://ift.tt/fgRDopa Indiana Jones and the Great Circle was a game so long in development, and so mysteriously hidden from sight by both i...
Indiana Jones and the Great Circle was a game so long in development, and so mysteriously hidden from sight by both its developers and Microsoft during that time, that many fans – already reeling from the cinematic misstep that was Dial of Destiny – had begun to fear the worst.
They needn’t have worried; this ranks alongside the Man with the Hat’s greatest adventures. In retrospect, Microsoft’s initially leftfield choice to appoint MachineGames as the new custodians of the Jones franchise was inspired.
Having proved their mettle with the Riddick and the Wolfenstein reboots (cinematic presentation married to comic book action, rich hub areas, slick gunplay and fisticuffs), they’ve essentially, albeit studiously, copied and pasted BJ Blascowicz into the Indy-verse.
While Disney’s Dial of Destiny featured a world-weary Indy almost as ancient as some of the artefacts he’s hunted, the digital medium gives MachineGames the opportunity to dive into our hero’s life between Raiders and The Last Crusade.
Hey, Strambo!
This Jones is still young-ish, and while he’s mourning the demise of his relationship with Marion Ravenwood he remains a flirt and a laugh during the entertaining interactions with the game’s feisty heroine, Gina Lombardi.
Laconic instead of jaded; vital rather than arthritic; Indy’s still very much on top of his physical game here. Frankly, it’s a treat to don his fedora and experience fifty-or-so hours in his shoes.
Aside from several memorable mini-areas, there are three sprawling hubs in the game – Vatican City, Giza and Thailand. They all feel suitably distinct to one another, both aesthetically and in terms of their level design.
Throw in tunnels, caverns, catacombs, and traps and there’s plenty of explorative bang for buck here as Indy battles with fascists and monsters alike in pursuit of his latest McGuffin.
Every inch of the universe is packed with sub-missions, collectibles, puzzles, lore, Easter Eggs and other tangible activities that feel very suited to the rich universe of Indiana Jones.
The result is a rollicking romp that feels considered, thoughtful, keenly aware of its cinematic origins and pacing, and almost old-school in its approach to adventuring. For instance, one of the game’s standout mechanics is arguably its map.
To reach somewhere Indy physically pulls out said map, and players study it as they traverse the gameworld. And it works because, while clunky, it feels authentic and immersive – further pulling players into an already captivating universe.
Another plaudit; despite many gamers’ misgivings, The Great Circle is unashamedly a first-person experience. This is a confident, clever move; you aren’t simply playing as our hero – you become him.
In fact, while the occasional third-person forays into platforming are well done, they almost pull players out of what’s otherwise near enough an Indiana Jones simulator.
The game’s various sandboxes marry stealth, strategy, and impromptu situational awareness (cynically killing that guard isn’t very Indy; why not knock him out with a nearby chair and drag his body into an alcove instead?) Melee scraps dominate the early hours, but later on gunplay becomes more pronounced; both are very satisfying.
It had to be snakes
There are also some brilliant set pieces throughout Indy’s quest. Among other treats, expect giant jungle snakes, eerie battleships perched on top of snow capped peaks – and even a Nephilim survival horror encounter in the Stygian darkness.
Kudos to Troy Baker for his vocal performance as Indy. The acting is uniformly fab, but he’s an uncannily good Harrison Ford copycat (as the man himself has since noted). Almost as worthy is Marios Gavrilis as über Nazi Emmerich Voss – a mash-up of pantomime and genuine nastiness to rival René Belloq and Mola Ram.
The Great Circle isn’t for everyone, but this unapologetic fan service proves that AAA experiences can dare to be different by taking their time and confidently subverting many modern gameplay mechanics. In doing so, it’s not just surely earned a well-deserved sequel, but also potentially breathed fresh life into the broader Hollywood franchise. Fortune (for Microsoft and Disney) and glory (for MachineGames), indeed then!
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