true game design cirular flow mdoern warfare

One level late in the game has the player protecting a computer for a set period of time, as waves of enemies try to destroy it. it's a lot harder to clear a path forward when there are multiple routes, and it sometimes feels a little unfair when the waypoint is pushing you forward yet you're being attacked from behind.įor the most part, Infinity Ward has the balance just right, but frustration does creep in occasionally.

These sequences do tend to feature what seems like an inexhaustible supply of enemies, which can sometimes feel a little ridiculous, and it also means there's a tendency for enemies to be coming at you from all directions – i.e. Infinity Ward makes good use of this, less scripted-feeling gameplay throughout, whether you're clearing out enemies in amongst the maze of shacks, markets and rundown houses that comprise the Rio De Janeiro favela levels, or you're moving through a sprawling plane graveyard with two opposing sides fighting it out around you. The upshot is that your encounters with enemies feel more like a game of cat and mouse, and less like a shooting gallery. Many areas are either quite open, or have multiple paths through them, with your squad dynamically adapting to your movements. In other words, while the overall path may be linear, there are heaps of situations where the gameplay is anything but.

Plus, Infinity Ward has made even more of an effort than in previous games to regularly open up the firefights. That's fine though, as it's an intentional design decision to help keep the pace and flow of the game up. You're once again moving from set piece to set piece along a linear path, and once again you're in a world where most doors can't be opened, no matter how many grenades you toss at them.

True game design cirular flow mdoern warfare