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The map of New York, where the whole game is based, is huge, which proves something of a problem in the game. Although the modern era’s selection never quite reaches the same level of excellence, the music is nonetheless very good throughout. Music selections are also superb, with such seventies classics as David Bowie’s ‘Suffragette City’ doing the rounds. There’s a clear effort on the part of the developers to create a cinematic quality to the storytelling, and they achieve this with ease. Important plot points are told through cutscenes, but you won’t find yourself stopping every ten minutes to watch something. There’s also a nice balance to the number and length of these cinematic scenes. The scripting is good, as is the acting, and there’s plenty of artistic flair inspired by the best the gangster film genre has to offer. Importantly though, the presentation is from the top draw, with cinematic cut-scenes produced to an extremely high standard. The story, although fun enough, isn’t about to win any awards for originality. When he gets out it’s present day, present time and its pay-back time too. But as we all know but are seldom told, in games at least, a life of crime doesn’t pay, and eventually TK finds himself sent away for a considerable amount of time. Proving his credentials makes up much of the early part of the story as he gets further involved in the local crime scene. But he’s not he’s just another young punk who thinks he knows it all, but has yet to prove anything. He has the trademark seventies swagger, flares, aviator shades and generally looks the business. You play as TK – think Johnny Depp in Blow – an eighteen-year-old trying to make it as a wheel man in New York. It’s a bit of a steep entry point, but if you fail you can start at the beginning again without being penalised – a welcome feature throughout the game. From here you are flung headlong into your first job: lose the cops and drop your petty robber to his desired location. It’s a pretty canny move on the part of developers since it sets up the cinematic approach of the game very nicely. Having created a profile and gone through the usual game save settings, the game goes straight into the opening cinematic introduction, bypassing the usual menu screen and ‘create new game’ routine. It begins in New York, 1979, with one of the better introductions into a game you will find.
#DRIVER PARALLEL LINES PC MOUSE WONT MOVE DRIVER#
Happily, Parallel Lines goes a long way, but not all the way, to righting many of the wrongs done in Driver 3.
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It was buggy, slow and often impossibly hard, feeling rushed and incomplete it left a bitter taste in the mouth of reviewers and gamers alike. Driver 3 had some fairly hefty expectations, but the game didn’t do as well as Atari hoped, for some pretty obvious reasons.