Will Rock Game
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Will Rock is a first-person shooter developed by Saber Interactive and published by Ubisoft. The game was released in North America on June 9, 2003. The game is the first game developed by Saber Interactive. It received mixed reviews, with critics comparing the game unfavorably to Serious Sam.
With the aid and powers of the titan Prometheus, Will Rock rampages through Lost Olympus, seeking the safe return of his love, Emma, and revenge for the murder of his mentor, Dr. Headstrong. Prometheus, fusing his spirit into Will's able body, seeks to wage a bloody vendetta against the god Zeus, who robbed him of physical form long ago. Half mortal, half Titan, Will Rock will stop at nothing short of toppling the pillar of the gods to wreak vengeance of mythic proportions, and to save a terrified woman in the name of love. They don't have much time, though on the eve of the next thunderstorm, Zeus will be able to take a new wife and this time his sights are set on a mortal: Emma Headstrong.
The game is a first-person shooter, with the player having control over the main protagonist, Will Rock. The player can use 11 different weapons in combat. The single-player mode of the game has 10 levels, and there are different multiplayer modes in the game.
The game received \"mixed\" reviews according to the review aggregation website Metacritic. Chris Hudak of IGN gave the game a score of 7.2/10, praising the graphics and gameplay. GameSpot criticized the game for being a mindless knockoff of Serious Sam in a more negative review.
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After coming out of virtually nowhere to win GameSpot's 2001 PC Game of the Year award, Serious Sam has now officially reached the next level of success: It has its very own knockoff. From the goofy title, to the nearly plot-free frantic shooting action, to the budget price, Saber Interactive's Will Rock is a blatant attempt to recapture the magic of Croteam's game. Unfortunately, while it gets the broad strokes more or less right, many of the details that made Serious Sam great are simply missing.
The level and combat design also aren't as interesting as they could have been. Visually, Rock's 10 large levels favor darker, slightly less open, and more barren environments. If you had to compare the two games, the graphics engine appears to be about on par with Croteam's Serious engine, though, again, some small but noticeable details, such as grass and thick foliage, are missing. Sam's levels had a straightforward, generally puzzle-free flow that effortlessly moved you from one large battle to another--a strategy that complemented the game's focus on pure action. Rock, on the other hand, often leaves you to wander around a hublike area searching for the triggers that will permit you to keep moving forward. These switch searches don't qualify as puzzles; they're just busywork that frustrates your attempts to get on with the action.
Worse, Rock relies heavily on jumping puzzles, which have generally never worked well in first-person action games. These sections are made more aggravating by the way in which enemy attacks push you back a few feet, often knocking you off your tiny perch.
The game's occasionally unreliable mouse control also detracts from the combat. No matter how you set your sensitivity, the control never feels quite right. Mouse movement speeds up and slows down seemingly at random, making aiming much more difficult than it should be. A recent patch has made this problem a little less noticeable, though it's still not perfect.
On the bright side, the character models and animation are great. Some enemies, such as a series of living statues that shatter in a satisfying shower of masonry, move with a convincing fluidity that's really impressive. The game's four boss battles are also pretty spectacular, though there's nothing that competes with Sam's legendary final battle.
Will Rock's competitive multiplayer is a bit thin; all you get is standard deathmatch and a team-based deathmatch variant called treasure hunt. Thankfully, up to four people can play the single-player game cooperatively.
Will Rock is a first-person shooter developed by Saber Interactive and published by Ubisoft for the PC. Though the game's graphics were above average for 2003, it was entering a very crowded FPS market and saw little media coverage. Upon release it received mostly middling reviews, and Saber Interactive later moved on to make TimeShift and Inversion.
Like Serious Sam, Will Rock is a rather fast paced first-person shooter in which the player has access to a plethora of ridiculous weapons that are used to fend off a just as ridiculous number of enemies. These enemies generally attack in mobs with different types of abilities and the aim of the game is to pretty much obliterate them throughout the levels with the occasional boss fight including a Giant Cyclops (not to be confused with a normal cyclops), Hephaestus, Medusa and Zeus himself. These boss fights may make the player think just a tad more by implementing thunderbolts that should be dodged but in the end it still rounds down to point and shoot.
Players have health and armor which are also scattered around the levels and an end-of-level summary is provided summarizing the number of enemies the player killed, treasures that have been found, et cetera. There are three difficulty levels for this game, Will Win (easy), Will Play (normal), Will Die (hard) and there are ten reasonably large levels in both the single player and co-op modes. There is also another multiplayer feature called 'fragmatch', a 16-player deathmatch in which options such as time and kill limits can be set.
The starting weapons are the shovel and pistol and the rest of them are unlocked by progressing through the game. They are usually placed in obvious areas with heaps of ammo and are usually paired with many enemies in a situation where the placed weapon would be useful, acting as a kind of tutorial for the weapon.
Yes, I did. I'm kind of annoyed with little old May, frankly. Or, more specifically, I'm annoyed at what he's unwittingly created. You see, I've spent much of my life at sporting events-from University of Alaska Anchorage hockey games to the Super Bowl-and at every arena they won't stop playing piped-in pop music. It doesn't matter if the song is lyrical genius or absolute dreck, or even if it relates to sports. It doesn't matter if the artist is a rock god or a one-hit wonder. If it rocks, we play it, and somehow music has become as synonymous with our games as the $12 Bud Light.
It hasn't always been like this. In the 1960s, the only time music might have overshadowed a game was when a superstar like Tony Bennett would sing the national anthem. But in the '70s, piped-in music became a fixture at our games, and it's been steadily building ever since. Our need for these songs is rooted in a mysterious pathos. Are we shallow Easily bored Maybe chanting in unison simply isn't our thing Or maybe there's just something about music that helps reconnect us to ourselves and to each other, in much the same way that sports does .
Whatever the reason, we cater to our audience. NBA deejays indulge the fortysomething urban crowd with hip-hop. NFL fans, also in their 40s but less diverse, are fed hard rock. NHL puckheads, who skew slightly older, hear mostly classic rock. Baseball draws the most diverse crowd-cheaper tickets plus more games mean a wider base-so major league deejays play something for everyone. The artists, and sometimes even their rap sheets, are irrelevant. For nearly 20 years, Broncos fans celebrated touchdowns with Gary Glitter's \"Rock and Roll Part II.\" (You know, the tune with only one lyric: \"Hey!\") But in 2006, Glitter was sentenced to three years in a Vietnam prison for child molestation. The Broncos stopped playing the song, but callers hounded the team until \"Part II\" was returned to the rotation.
Nobody is certain who played the first pop song at a sporting event. The \"Rock and Roll Part II\" tradition dates back to 1974, when Michigan deejay Kevin O'Brien pulled the record from his own collection and started spinning it at Kalamazoo Wings games in the International Hockey League. A few years later, when O'Brien was hired by the NHL's Colorado Rockies (now the New Jersey Devils), he brought the song with him, and it eventually caught on at Broncos games. Now, stadium entertainment is an industry in itself. There's even a trade website called Pro Sports DJs, founded by Sean Bovelsky, the 38-year-old spinner for the Tampa Bay Buccaneers and Lightning. Only employed sports deejays can log on; 578 are registered, including one from almost every major U.S. pro team. They can learn about popular new songs, or chat on message boards dedicated to their art, like \"Clips for Opposing Free Throws\" or \"Rain-out Songs.\"
Whether stadium deejays are full-time employees or hired on a game-by-game basis (most are part-timers), their jobs are unique to the table-turning profession. Rather than surprising the crowd with rarities, like a party deejay would, sports spinners aim to reassure fans with recognizable songs. \"You have to play stuff that the crowd wants to listen to,\" says Mavericks deejay Anthony Johnson. For the most part, that means sticking with the safe stuff: Steam's \"Na Na Hey Hey Kiss Him Goodbye\" or Europe's \"The Final Countdown.\" The general rule is: Be clever at your own risk. In 2002, Indians pitcher Chuck Finley was in the midst of a messy divorce from Tawny Kitaen, the actress best known for rolling around the hood of a car in the Whitesnake video for \"Here I Go Again.\" Joe Stephen, music director for the White Sox at the time, decided to play the song as Finley entered the game. The Sox f