There is another interesting point to point out: inside Who needs you? , the choices begin to seriously weigh. If what seemed fundamental, closing at Exodus 3, might not have been as decisive as we thought, you will realize that some others – perhaps you have taken light in the past, with pure instinct – could present you a salty account .
Who needs you? , in which the main screenplay does not take half a step forward, while the sequences focus on the relations between the Guardians, their past, about what they share . The most interesting part is that just this-what most of all takes care of the fight against the evil antagonist that endangers the universe-is now, as it is now, the most successful episode of the series, with detachment .
Again, we liked the writing of this fourth episode of Guardians of the Galaxy : for the first time since the beginning of the series, it has the feeling of having a weight in the lives and the fate of the protagonists, which between a beat and a rock song, are still addressing the risk situations we are going to have to deal with.
Discovering the Guardians step by step is interesting and at times exciting, while at the moment the conflict with what should be the great antagonist of our goodwill has never been able to take off. If, on the other hand, on the one hand we have a fable about conflict with the bad that can not warm your heart and fill you with adrenaline, on the other we have a developed intricate dedicated to Guardians written with intelligence and great awareness of the means used.
In view of the final episode, the authors will have to make the two things memorable, thus leading to a great finale that can give at least a little thickness to the conflict with the enemy of the story now sketched, without forgetting to keep the soul and the shades of the Guardians that we discovered the episode after the episode.
All in all, writing Who needs you? the fact that the script line that was to be the main thing is not the brilliant (and the same authors seem to know it perfectly), both the protagonists and their stories are really pushing you back to the next episode. Conflict with the enemy is rather a pretext to bring us inside Milan to discover Peter and comrades-that in this episode more than ever are told with the wisdom Telltale used to us in his most appreciated series.
Let’s take the time to live this adventure
After an episode 3 that pressed heavily on the QTE pedal, we appreciated the fact that Telltale has managed to manage the gameplay rhythms in this episode 4, giving the player a bit of balance. In this case, QTEs are reduced to the bone (and some are too punitive), while several scenes dedicated to the exploration are unlined .
Considering that the whole plot of the chapter takes place in a handful of settings-while in the old episodes you went from one side to another-you will have all the time to get acquainted with atmospheres and peculiarities, along with some moments of vertical exploration. In any case, the tasks to be performed are always extremely basic and linear, although in many cases they are enriched by well-established dialogues.
Certainly worthy of mention is the clever use of the sound made by Telltale, capable of accompanying its sequences or offering extremely effective counterpoint sounds, which in some situations perfectly fade out of the original film climate. Within a sequence, the famous “Stone cold crazy” of the Queen also features, but we do not want to anticipate how it was used and leave you all the sense to find out.
With regard to the technical sector, we have noticed only a few small and sporadic slowdowns on PS4 Pro, which does not undermine the gaming experience, and which has been limited to a few moments between one and the other.
