Now the control system is a lot better on the pc

You can stick in your crow bar in someone`s chest by holding left mouse button & pushing up and unlike console version (ps2) you can now rotate your mouse to twist the crowbar to make more damage(very sick)
and that only one of the First standard moves you learn

if you played the consoles watered down crap you will like this version

try the uncut pc version if you are into sick horror and stuff play it

if you don`t give this a miss trust me

way better version on pc !!

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D2d says 3d monitor only… but dont… alot of… us here… not have them?
What the hell. Am i missing something here?

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Admittedly, I never did try the PC version of Bully, as I’ve already thoroughly beaten the PS2 version. Plus, the 360 port was a bit rubbish and I’d heard that the port of that to PC was even worse.

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Then again, you’re also talking to the guy who has to force himself to take the Renegade/Dark Side choices in Bioware games because I feel guilty doing so.

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http://www.bartsnews.net/search/label/Manhunt

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I quite liked the original Manhunt. Felt the story (thus the motivation) withered away about 2/3rds of the way through, but the idea was interesting and the execution, though the mechanics were a little raw, was very workable. Something of a one-trick pony.

Manhunt 2, on the other hand, has a pony capable of spinning plates while standing on it’s front hooves and telling you a lightly amusing story of something that happened on the way to the stables.

Graphically (or rather, stylistically, but we’re all living in the age of NPR now) beautiful, threatening and ghoulishly amusing at the same time, it’s a fun little game of hide-and-seek. Hunters can now occasionally peer into the shadows you’re lurking in, prompting a short quick-time event as you try to remain as still and inconspicuous as possible. It’s simple stuff, but adds a thin layer of unpredictability to the well-established stealth system.

But the weirdest thing is the implementation of the execution system, how it differs from the first and how in neutering the executions the censors – who vilified the game for being gore without any artistic merit – managed to expunge the artistic crux of the game.

Spoilers and theories to follow:

So, the twist in the game should be pretty obvious to anybody who’s seen a trailer or read any coverage of MH2. Violent, vengeful Leo Caspar, inmate of Dixmor Asylum and rescuer of fellow asylum inmate Daniel Lamb (pictured above) is…

Seriously, spoilers:

…the other half of Daniel’s split personality. It’s a fairly obvious trope, but MH2 actually brings some fun toys to the party. It’s revealed – 3/4 way through the story – that Leo is actually actively trying to destroy Daniels life. Not just by hurting people he loves, but by destroying any records that Daniel ever existed. Leo – brought forth by the Pickman Project – now intends to eliminate Daniel as a person, taking over his life utterly.

This, I thought, was kinda cool. It’s also NOT the standard Rockstar story – that of a plucky outsider who through bullying, violence and coercion makes himself the king of the city. Bonus points for that.

But it’s in the last few levels of the game that it makes a stab (weak, but at least it’s trying) at Silent Hill II territory.

Depending on the types of executions (or whether you’ve made executions at all) you’ve made during the course of the game, you’ll either finish the last level as Daniel against Leo, or Kaspar against Lamb – each with their own goals and mental defenses.

Or, you would, if the game hadn’t been censored.

As far as I can tell, the censors decoupled the – for want of a better term – ‘morality’ system from the result at the end of the game. No longer will gleeful slaughter and gratuitous cruelty be rewarded with the Kaspar level – the ‘bad’ ending. Instead you can do what you like and always end up with the happy, clappy Lamb conclusion.

You win the Kaspar level by completing the Lamb conclusion and may choose to play it if you wish.

The game was neutered.

Consequence for your actions… denied.

…

And that’s my take on it. Except…

Spoilers. This is the end of the game I’m talking about here. Seriously.

A quick note on the Lamb ending. Lamb has a great deal of guilt for the death of his wife… The final level represents him coming to terms with his responsibility for this… and gaining the strength he needs to then take on Kaspar.

This is represented by Lamb carrying his wife’s corpse across a ghostly graveyard of his mind while Kaspar pulls all the tricks you’ve used throughout the game on you. Lamb wants to lay the memory of his wife to rest, Kaspar wants to lure Lamb into a fight he can’t win.

Alright, the metaphor is a bit labored, but at least they’re trying – and through the basic mechanics of the gameplay to boot. Given the tripe I read so often about The Longest Journey and Dreamfall (“It’s about death” – seriously? Are you seriously trying to argue that’s a fucking justification for hours and hours of nonsense?) and Deus Ex and their wonderful, complex, emotional narratives (or, rather, random musings masquerading as a story)… can you wonder why I think we should instead champion something as confused and flawed and earnest as Manhunt 2?

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