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This review contains spoilers
A bag of diamonds, and the seedy underground of one Liberty City.
And thus ends the GTA IV "trilogy" (though it's more a game and a half), but that's besides the point. If you like Rockstar for their attention to detail and eccentric and entertaining characters, it's all here baby, the whole package. And if you weren't a fan of IV and TLAD's gritty tone, this might strike your fancy. The city is still as grey and dull as it was then, but Rockstar manages to color in between the lines a little here and there. That traditional GTA feeling isn't back in full swing, but this is as close as it gets when it comes to GTA IV.
This is certainly the better of the two DLCs. The characters are more interesting, missions are more fun, and I don't have to drive those fuck ass bikes. There is so much more life in this DLC compared to TLAD in every aspect it is almost embarrassing. Though I must admit I am not a great big fan of Luis. I don't care about his mom, I don't care about his booty calls, and I don't care about his friends. I suppose he is meant to serve as a change of pace from the usual gun-ho protagonists, but even in this aspect he does not succeed. As long as you ask him more than once he'll kill someone for you. Not all that interesting. I also suppose we are supposed to care about Tony as well. He is amusing I will admit, but that is about it. Luis saves his ass time and again and does essentially everything for him. I was getting flashbacks from Liberty City Stories with the amount I was just getting bitched and running errands.
Even if TBOGT picks up some of the pieces the base game left behind, it could not escape the pitfalls of its gameplay. Things were most certainly worse in TLAD, but this still isn't exactly a joy to play. Shooting feels janky and inaccurate, driving is a glorified ice-skating minigame with a serious lack of control, and even something so simple as running feels more like operating puppet strings than it does controlling a person. Rockstars pursuit of a physics based gameplay system was a tremendous detriment to this game.
TBOGTs hyper sexual essence captures late 2000s American culture and early internet absurdities in sufficient color, but this elevated level of expression isolates this second DLC from the first as well as the base game, the glaring issues of which remain unavoidable.
Kanye on the soundtrack doe thas wassup.
And thus ends the GTA IV "trilogy" (though it's more a game and a half), but that's besides the point. If you like Rockstar for their attention to detail and eccentric and entertaining characters, it's all here baby, the whole package. And if you weren't a fan of IV and TLAD's gritty tone, this might strike your fancy. The city is still as grey and dull as it was then, but Rockstar manages to color in between the lines a little here and there. That traditional GTA feeling isn't back in full swing, but this is as close as it gets when it comes to GTA IV.
This is certainly the better of the two DLCs. The characters are more interesting, missions are more fun, and I don't have to drive those fuck ass bikes. There is so much more life in this DLC compared to TLAD in every aspect it is almost embarrassing. Though I must admit I am not a great big fan of Luis. I don't care about his mom, I don't care about his booty calls, and I don't care about his friends. I suppose he is meant to serve as a change of pace from the usual gun-ho protagonists, but even in this aspect he does not succeed. As long as you ask him more than once he'll kill someone for you. Not all that interesting. I also suppose we are supposed to care about Tony as well. He is amusing I will admit, but that is about it. Luis saves his ass time and again and does essentially everything for him. I was getting flashbacks from Liberty City Stories with the amount I was just getting bitched and running errands.
Even if TBOGT picks up some of the pieces the base game left behind, it could not escape the pitfalls of its gameplay. Things were most certainly worse in TLAD, but this still isn't exactly a joy to play. Shooting feels janky and inaccurate, driving is a glorified ice-skating minigame with a serious lack of control, and even something so simple as running feels more like operating puppet strings than it does controlling a person. Rockstars pursuit of a physics based gameplay system was a tremendous detriment to this game.
TBOGTs hyper sexual essence captures late 2000s American culture and early internet absurdities in sufficient color, but this elevated level of expression isolates this second DLC from the first as well as the base game, the glaring issues of which remain unavoidable.
Kanye on the soundtrack doe thas wassup.
A step forward from THUG 1? Or perhaps a step back? It is in my intensive reflections regarding this game that this questions has rattled back and forth.
What is THUG 2, really? A mere sequel? Eric Sparrow makes an appearance, but there seems to be no connection to the story of THUG 1 other than the sudden appearance of Jersey in the very beginning. So just what is THUG 2? It appears to exist in a weird limbo of reboot/retelling of THUG 1. But why? Why is this the direction they took for an installment a meager one year after the previous? Their execution is well-done, yet I cannot help but question this decision.
Story is not thrown out the window, but rather pushed to the side. There is no narrative, merely reasons to move to the next level, and cutscenes in between to watch someone get hit in the nuts. In a Tony Hawk game, I don't consider this an inherent negative, but it is a sure disappointment compared to the what was offered in THUG 1.
Gameplay has it's subtle improvements, just like every sequel before it, so can this even be considered a positive anymore? Is this now the norm? Regardless, the gameplay is it's best it's ever been. That is, when you're not playing as a secret character. It is amusing to see Steve-O ride the bull... for about 15 seconds. After that is a mess to control and a bore to complete goals in with such a lack of tricks at your disposal. This criticism remains true for all the special "skaters" in the game. A useless gimmick that serves to pad out runtime. I would have preferred these characters on skateboards, just like every other guest character. But alas, this is still the best gameplay in the series yet, but that has come to be expected of this franchise at this point, a privilege afforded to few video games.
But what is a Tony Hawk game without it's soundtrack? Let me start by saying this: this is my favorite soundtrack in any of the Tony Hawk games. it is a very rare occurrence that you are skating around in this game and a musically orgasmic song is not playing in your ears. With that being said, I do not understand some of the choices made in this regard. In previous Tony Hawk games, the soundtrack was adjacent to skating culture. Classic hip-hop and punk rock oozed from the games character, and it felt like a peek behind the curtain of music popular with skating culture at its peak. In THUG 2, we have... Frank Sinatra? Johnny Cash (I get why this one is in the game, but my upcoming point still stands)? There's probably a few others that I'm forgetting as well. The Tony Hawk series is not exactly known for it's ground breaking immersion, but still, the little immersion it had was in it's soundtrack. Was this put to the side in order to get recognizable songs on the track list? Perhaps, but I still do not think it makes it any worse of a game, just less of a classic Tony Hawk experience. Which, perhaps, may have been best for the series at this point.
As for the level design, it is good. Very good. Removing the "go and talk to that guy over there" was an advancement I did not know I needed, and the new checklist system without a timer is probably the best way to go about a Tony Hawk game. Each level is more fun than the last, and there has not been this much character in Tony Hawk levels since THPS3, there may be even more. Absolutely no complaints in this department. Except for the Mountain Top Manual. Fuck the Mountain Top Manual.
And so the question that arises to the mind, is THUG 2 a step up, or a step down from THUG 1? This question is monumentous in size and consequence. If it is, it is the best of a legendary series and a pinnacle in not only the PS2 era of gaming, but sports games as well as gaming as a whole. If not, it is the beginning of a downhill spiral that leads down a path of some of the worst video games ever put on shelves. This question is a clashing of titans whose strengths and weaknesses correlate and play off of each other in such a way that their gigantic collision would shake even mountains. Do you prefer the grittier and higher stakes story of a skater rising and falling into fame, or the sillier balls to the wall competition between Tony and Bam that ends in a cinematic finale? Do you like a more immersive or more diverse soundtrack? More serious level design or wackier "arcadey" level design? Does the existence of the special characters throw you off or charm you even further? These are questions I cannot even answer myself. So which is it? The golden statue that still stands tall in a wildly popular and influential franchise and gaming industry giant, or the first mis-step in a tragic and continuous fall from grace that left a legendary series at the bottom of the clearance bin?
Classic mode is pretty cool too I guess, but I avoided that shit like the plague.
What is THUG 2, really? A mere sequel? Eric Sparrow makes an appearance, but there seems to be no connection to the story of THUG 1 other than the sudden appearance of Jersey in the very beginning. So just what is THUG 2? It appears to exist in a weird limbo of reboot/retelling of THUG 1. But why? Why is this the direction they took for an installment a meager one year after the previous? Their execution is well-done, yet I cannot help but question this decision.
Story is not thrown out the window, but rather pushed to the side. There is no narrative, merely reasons to move to the next level, and cutscenes in between to watch someone get hit in the nuts. In a Tony Hawk game, I don't consider this an inherent negative, but it is a sure disappointment compared to the what was offered in THUG 1.
Gameplay has it's subtle improvements, just like every sequel before it, so can this even be considered a positive anymore? Is this now the norm? Regardless, the gameplay is it's best it's ever been. That is, when you're not playing as a secret character. It is amusing to see Steve-O ride the bull... for about 15 seconds. After that is a mess to control and a bore to complete goals in with such a lack of tricks at your disposal. This criticism remains true for all the special "skaters" in the game. A useless gimmick that serves to pad out runtime. I would have preferred these characters on skateboards, just like every other guest character. But alas, this is still the best gameplay in the series yet, but that has come to be expected of this franchise at this point, a privilege afforded to few video games.
But what is a Tony Hawk game without it's soundtrack? Let me start by saying this: this is my favorite soundtrack in any of the Tony Hawk games. it is a very rare occurrence that you are skating around in this game and a musically orgasmic song is not playing in your ears. With that being said, I do not understand some of the choices made in this regard. In previous Tony Hawk games, the soundtrack was adjacent to skating culture. Classic hip-hop and punk rock oozed from the games character, and it felt like a peek behind the curtain of music popular with skating culture at its peak. In THUG 2, we have... Frank Sinatra? Johnny Cash (I get why this one is in the game, but my upcoming point still stands)? There's probably a few others that I'm forgetting as well. The Tony Hawk series is not exactly known for it's ground breaking immersion, but still, the little immersion it had was in it's soundtrack. Was this put to the side in order to get recognizable songs on the track list? Perhaps, but I still do not think it makes it any worse of a game, just less of a classic Tony Hawk experience. Which, perhaps, may have been best for the series at this point.
As for the level design, it is good. Very good. Removing the "go and talk to that guy over there" was an advancement I did not know I needed, and the new checklist system without a timer is probably the best way to go about a Tony Hawk game. Each level is more fun than the last, and there has not been this much character in Tony Hawk levels since THPS3, there may be even more. Absolutely no complaints in this department. Except for the Mountain Top Manual. Fuck the Mountain Top Manual.
And so the question that arises to the mind, is THUG 2 a step up, or a step down from THUG 1? This question is monumentous in size and consequence. If it is, it is the best of a legendary series and a pinnacle in not only the PS2 era of gaming, but sports games as well as gaming as a whole. If not, it is the beginning of a downhill spiral that leads down a path of some of the worst video games ever put on shelves. This question is a clashing of titans whose strengths and weaknesses correlate and play off of each other in such a way that their gigantic collision would shake even mountains. Do you prefer the grittier and higher stakes story of a skater rising and falling into fame, or the sillier balls to the wall competition between Tony and Bam that ends in a cinematic finale? Do you like a more immersive or more diverse soundtrack? More serious level design or wackier "arcadey" level design? Does the existence of the special characters throw you off or charm you even further? These are questions I cannot even answer myself. So which is it? The golden statue that still stands tall in a wildly popular and influential franchise and gaming industry giant, or the first mis-step in a tragic and continuous fall from grace that left a legendary series at the bottom of the clearance bin?
Classic mode is pretty cool too I guess, but I avoided that shit like the plague.
I'm in love.
What more can you possibly want in a video game? Fun story, satisfying gameplay, all-time great soundtrack, superb vibe and a monument to the culture of gaming itself.
Skating culture permeates most everything in modern euro-centric culture, and this game compressed it and stuffed it in a delicious can of beer. Not only this, but it built even further upon an already legendary franchise in a way that sent the series in an entirely new direction that benefited the core gameplay in every way. Wallplants and walking are two VERY welcome additions to the series in my eyes, the final two pieces of the perfect Tony Hawk gameplay puzzle.
And how can I not mention the level design? Every single one so perfectly lays out it's goals in a nonobtrusive manner that familiarizes you with the potential capabilites of the level whilst simultaneously engaging you in it's goofy world that never gets old. Not only are these levels crafted with utmost care in service to the lovingly addictive gameplay loop, but the goals in the levels themselves are an absolute blast that exude so much unique humor and character and never drag on for too long that one of the greatest challenges in the entire game is just putting the controller down and turning the game off.
The story isn't going to knock your socks off but it's a fun rise, fall and rise tale that never insists too much upon itself. It's got it's likeable and unlikeable characters and is a surprisingly simple yet well laid out narrative that get's you to point A to B with just little enough fuss to never bore you out and just enough emphasis to keep you engaged.
Maybe I'm just a pretentious hip-hop head or am too into music when it comes to this kind of thing but let me tell you, when I heard DOOM start spitting after hearing N.Y. State of Mind I couldn't believe that shit. It doesn't even end there. Rock and Roll All Nite too? Then I watch the credits of the game to find out Deltron 3030 and Cannibal Ox were featured and I didn't even hear them? How did Neversoft do it? I'm almost in shock.
These guys clearly love the world of skateboarding and want YOU to love it too. It's actually kinda hard to believe the guys in the end credits of this game knocking their own teeth out and dropping televisions off roofs onto spraypainted cars made something this compassionate and with so much care. No game has EVER and will likely never again make me feel such an appreciation for the names and faces behind the experience laid out before me. Too bad the guys that are still around (if any) are trapped in Call of Duty hell now.
This should be on EVERYONES must play list. It's not a wonderful piece of art because it's much more than that. It's mechanical excellence accompanied by a wonderful tribute to one of the most influential subcultures of all time.
This shit belongs in a fine art museum.
What more can you possibly want in a video game? Fun story, satisfying gameplay, all-time great soundtrack, superb vibe and a monument to the culture of gaming itself.
Skating culture permeates most everything in modern euro-centric culture, and this game compressed it and stuffed it in a delicious can of beer. Not only this, but it built even further upon an already legendary franchise in a way that sent the series in an entirely new direction that benefited the core gameplay in every way. Wallplants and walking are two VERY welcome additions to the series in my eyes, the final two pieces of the perfect Tony Hawk gameplay puzzle.
And how can I not mention the level design? Every single one so perfectly lays out it's goals in a nonobtrusive manner that familiarizes you with the potential capabilites of the level whilst simultaneously engaging you in it's goofy world that never gets old. Not only are these levels crafted with utmost care in service to the lovingly addictive gameplay loop, but the goals in the levels themselves are an absolute blast that exude so much unique humor and character and never drag on for too long that one of the greatest challenges in the entire game is just putting the controller down and turning the game off.
The story isn't going to knock your socks off but it's a fun rise, fall and rise tale that never insists too much upon itself. It's got it's likeable and unlikeable characters and is a surprisingly simple yet well laid out narrative that get's you to point A to B with just little enough fuss to never bore you out and just enough emphasis to keep you engaged.
Maybe I'm just a pretentious hip-hop head or am too into music when it comes to this kind of thing but let me tell you, when I heard DOOM start spitting after hearing N.Y. State of Mind I couldn't believe that shit. It doesn't even end there. Rock and Roll All Nite too? Then I watch the credits of the game to find out Deltron 3030 and Cannibal Ox were featured and I didn't even hear them? How did Neversoft do it? I'm almost in shock.
These guys clearly love the world of skateboarding and want YOU to love it too. It's actually kinda hard to believe the guys in the end credits of this game knocking their own teeth out and dropping televisions off roofs onto spraypainted cars made something this compassionate and with so much care. No game has EVER and will likely never again make me feel such an appreciation for the names and faces behind the experience laid out before me. Too bad the guys that are still around (if any) are trapped in Call of Duty hell now.
This should be on EVERYONES must play list. It's not a wonderful piece of art because it's much more than that. It's mechanical excellence accompanied by a wonderful tribute to one of the most influential subcultures of all time.
This shit belongs in a fine art museum.