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A Total War Saga: TROY is a popular Total War game with a fundamental formula forged and a game cycle, its stagnant innovation and minimal wastes its potential. With this episode, Creative Assembly reaffirms that it is actually a developer of AAA strategy games and a corporate with all the pros and cons that entails.
The Total War series and its series derived from the saga, of which TROY is part, are 4X strategy games with a turn-based strategic crusade layer where players deal with diplomacy, territorial conquest, resource management, studies and city progression. When two hostile armies are on the Crusade map, players will go into the real-time details of the game, where they will deploy their army troops on colorful and varied maps and fight. In essence, TROY continues with this well-established formula, as it provides a wide variety of features for the player to cope with the progression and expansion of their empire or faction.
The first of many primary disorders with TROY arises with its modes, especially the absence of any type of multiplayer at launch. This is the first Total War game to be presented without multiplayer for battles or campaigns, which is an impressive and inexcusable main feature band for the release of a Total War game. I know the multiplayer mode will load about 3 months later, but that just wonders why the game isn’t delayed to avoid such criticism, as well as to fine-tune many of the game’s other disorders and load even more content.
THE winning situations of TROY campaigns are divided into a shorter, more narrative-centric Homeic victory and a Total War victory, where players conquer the game world. These lenses are popular for a Total War game and are perfectly usable.
One of the maximum parts of the crusade is resource control and in TROY, the classical financial economy has been replaced by an expanded multi-resource monetary system, including food, wood, stone, bronze and gold. Each resource can be used for a variety of responsibilities, such as the recruitment of units, sacrifices to the Olympic gods, structure or trade. This is a thematic and attractive progression to Total War’s economic system, which adds some intensity to strategic plans and resource control, as total Total Wars has relegated special resources such as ad revenue bonuses.
However, like many of TROY’s features, this resource control formula is not taken far enough and is just a small innovation for the franchise. The production of bronze is too undeniable and does not reflect the period, with copper and tin being essential parts that are missing in the formula. Gold in the game is most commonly finished because it is dictated through a deposit formula, which adds a detail of scarcity and durability to resource control, however, this formula has not been implemented to other resources such as wood or even bronze.
The mechanisms present, such as Menelaus Call to Arms, Hector’s Assuwan League and Agamemnon’s Lion Share, are, on paper, really smart and make alliances more meaningful. Unfortunately, developers have chosen to arbitrarily separate these attractive mechanisms into express characters, limiting the scope of the effect of these new cutting-edge mechanisms.
In the perception of the characters, Epic Heroes is the mainstay of crusade and narrative decoration. Each character has unique traits, bonuses, and features that theoretically distinguish them and make each component unique. Epic heroes and heroes can equip elements and take them to the next point of tradition and long-skilled trees to traditionalize their role in war and empire, just like in the Warhammer series. While the point of tradition and intensity of skill trees are not comparable to Warhammer, what is provided is functional.
CA tries to diversify and characterize the Homic trojan War and epic heroes through epic narrative project missions. And just like the ultimate things in TROY, there’s a clever variety of epic projects at the fundamental point that give an idea of the other characters as well as their homelike path. However, there is a critical flaw in the technical implementation of these epic projects, as they are potentially decisive and absolutely block the condition of home-school victory if players are careful.
In Total War: Warhammer, there is a formula in which, if mission situations are to be achieved, the mission will automatically move to the next step. While playing a Menelaus crusade in TROY, I witnessed a revolutionary scenario in which I activated an epic mission mission that required me to be at peace with the owner of the Cretan city of Knossos. By this point, I had already conquered Knossos and eliminated the original owner, so I could not make peace with the owner of the city. The result was that the game might not recognize and continue the search because one of the situations was to comply.
This is the first Total War game that I think the combination of features to each of the heroes hinders the developers’ purpose of diversifying the game. For Warhammer, it makes sense that everyone, a character and race is some kind of specialist in their box, and that the characters are designed enough to work. In Three Kingdoms, despite each other’s homogeneous frame, a character very similar to China Han, the characters felt they were components of a larger whole, but also unique enough due to small but significant mechanical differences to make each one an attractive and engaging game.
In TROY, I feel that CA imposes mechanical and functional diversity on characters and factions, sacrificing the innovation and progression of the entire series in the process. I also believe that the time and scope they chose did not facilitate their paintings, because in the Iliad, despite a clash between two other cultures, they adhere precisely to the same pantheons and characters in a relatively similar way.
I think it’s smart to have a game governed through a more homogeneous cultural age. We see this very well done in Shogun 2 and In Three Kingdoms. Diversity and intelligent appearance come from the main points and character inherent in individual factions and heroes, which a developer who awkwardly forces the game’s mechanics as definers of characters and factions. In short, it’s as if CA is forcing the game into the characters and in the old age that the characters on set guide and inspire development.
Heroes and Epic Heroes will command armies on the cross-map and tactical battles. Each primary faction has a relatively extensive list of sets, which focuses primarily on various types of infantry, as cavalry and war device sets were rare in this period. The lists overlap with non-unusual sets, although sometimes each faction has a decently explained tactical doctrine, such as clubs and heavy infantry for Mycenae or snipers and ambushes for Ithaca. Mythical offers players limited but unique and themed features to complete their army or some of their own weaknesses.
Since the release of Total War: Warhammer, the capacity of army traditions has been removed from Total War games and is far away from TROY and the series as a whole. Traditions have allowed players to invest directly in the survival and good fortune of their armies, as well as strategically, providing more features for synergy and decision-making in the control of armies.
The royal decrees (the tech tree), the construction management, character skills and the Formula of the Divine Will have no unusual disorders that are provided in TROY but also in the Total War franchise as a whole. The two main disorders are the fluidity of the upgrade design and the consequent meaningless decision-making. One of the many strengths of strategy games is the complexity of cause-and-effect relationships in player selection and interaction. There are opportunity costs, pros and cons in decision, and potential significant selections are based on the relevance and attention of the cost-benefits of an action. Choices and decisions, in essence, lose meaning when a player presses any button and gets a positive result, regardless of careful attention and reflected image or not.
In TROY, to the maximum everything the player does gives him some kind of advantage, maximum commonly very extensive without a significant penalty. In maximum cases, I would say that recent Total Wars time and cash are not sufficiently applicable in terms of charge, or in other words, the charge does not necessarily reflect the benefits of gaining proportionally and significantly. For example, I can accidentally perform a hecatombe action for Hera without much attention and all I have to do is wait five laps for the Hecatombe to recharge and not feel much loss, because the advantages Hera takes from the Hecatombe are useful. somehow, even without my intention, or the update is so applicable that I wouldn’t even think about having it.
Essentially, the challenge of recent total wars is reduced to the maximum productive way of optimizing decisions to have the maximum effect on higher difficulties as opposed to a cheating AI, while in smaller difficulties, maximum experiments will be relatively undeniable with a few moments of significant decision. -doing. Maximum all decisions will be maximum maximums will likely have positive, linear and undeniable consequences with little load for the player and will have little effect or significant consequences of ill-thought-out decisions.
When it comes to tactical wrestling, TROY is as asymmetrical here as it is with the strategic layer. The design of the war map on the ground is incredibly poor overall. The design of the TROY map emerges opposite two main elements: terrain characteristics and map length.
The battle maps on the floor are tiny for the past Total Wars (even Thrones of Britannia had larger maps), limiting the tactical characteristics for players and the prevalence of cliffs, gorges and rocks makes the maps even narrower, in fact, the railroad and the restriction of wars to strangle. slugging matches. Interestingly, siege war cards are much larger, with city designs and larger deployment areas. But there are also many siege cards that are encouraged through warhammer’s smooth map design with few approaches to tactical options.
It’s no secret that the Total War series has been affected by lower-than-normal AI, although it’s more of a general strategy game challenge than endemic to Total War. It is vital to note that AI is not very smart in TROY and, when combined with the smaller map design full of obstacles, it is even more usable. I saw that AI skirmish groups were fleeing a pursuer even after the chase unit had stopped moving, or that an AI hero was in a state right next to doing nothing like a confrontation while his troops were being massacred. They have added minor behavioral innovations to Three Kingdoms, but it is still in a sorry state.
In terms of units, as this era was more focused on infantry, the developers made more efforts to diversify the nature of infantry-centered fighting during this era. They did a pretty decent task with the other infantry categories and their performances, although it was nothing revolutionary as the unitary weight categories were present, but now they feel more different in their behavior. The difference between soft and medium is, however, more noticeable than medium and heavy. The rare presence of cavalry and tanks makes their use more impactful, but they are not essential. In fact, the map design can particularly obstruct cavalry and tanks.
Siege battles are a relatively boring and complicated issue due to the lack of gadgets and fighting functions throughout the game. This is where the story opposes some of what made Total War really fun to play. Siege battles are as strange as they are in Warhammer because all sets magically generate stairs when attacking walls. In fact, siege battles don’t feel like heavy, bloody trials of preparation and elaboration of plans as they have in the past and are more boring and annoying.
There are two attractive additions implemented in tactical battles that introduce a superior player and a possible long-term innovation. Some sets have two fighting modes, basically shielded lancers, where players can sort sets to replace weapon configurations and replace unit stats with other fighting roles. This is a less attractive addition that can actually be implemented more widely in Total Wars in the long run.
Shields have also been advanced and become more modular in their dating with missile weapons. Some shields have up to an 85% chance to block missiles, making those sets highly resistant to missile weapons. But those shields are basically discovered in highly armored and infrequent elite ensembles and not all factions have them. This modularity of shields is perfect and gives sets a greater diversity of roles and abilities. However, strange as it may seem, some images of the unit’s shields do not match their shield stats. For example, the Laconian Spartan defense force uses tiny shields and gains a 40% chance to block missiles, while an armored lancer unit with a giant square shield has only 50%.
Remote sets with maximum firing speed, diversity, damage, ammo, and ease of strategic improvement make shields almost useless. Do you have a well-armored lancer with a 65% and a slow missile blocking chance? That’s nice, I’ve got six slings polished across Hera and a diversity of 180. By the time the spears succeed on the front line, they will be useless in combat.
One of the main design principles that CA highlighted in its promotional curtains for TROY was the technique “The Truth Behind the Myth”. As a historian, this technique is attractive because it emphasizes the concept that each and every myth and legend has a basis of fact and is a matter of interpretation to bring it to life, as is noted in TROY. It is transparent that this design technique permeates the game, but I do not agree with its implementation.
If this precept has been used to advise on artistic and aesthetic direction, I am sure I agree. However, when it comes to the mechanical implementation of mythical or fantastic sets, as well as divine powers, this is where the game starts to feel strange. For example, I have no challenge with the visual design of the Minotaur, Cyclops and Giants, however, when they perform moves and engage in combat, I think they are realistic-looking ensembles that paint in the same way as Warhammer’s. extravagant creatures and monsters. Array Interestingly, I don’t have the same feeling with the Epic Heroes, however, the mythical “monstrous” ensembles hurt me in this regard. Centaurs, harpies, Spartoy and Corybantes combine perfectly in the decoration.
Epic heroes have a talent challenge in this regard. There are several talents that obstruct enemy sets or force them to attack the hero with a provocative ability, which feels and works well. But there are also divine healing talents, and even Aristeia’s heroic single-use ability, which acts as a small care and benefit from brief and difficult statistics, creates a cognitive dissonance and raises questions about why other divine powers were not included. Array I cannot prove or object to the CA design technique with TROY, as it is literally good, bad and also
TROY’s user interface is sometimes smart on the field, combined in tactical battles. The cross-frame user interface is pretty good and easy to read, especially with a useful overlay tool built into Three Kingdoms. There is a bit of discomfort in the Diplomacy menu because there is no “return” yetton and the “return” yetton itself pushes the player back from the Diplomacy screen and, instead, players will have to press the “reject” button to finish the nepasstiation to move to the Diplomacy menu. Very strange, but most of the time, everything else in the cross UI is solid.
The tactical user interface is another story. In particular, the sets do not have banners and instead have generic floating icons on the war map. In addition, the stat tracker below the unit icons comes directly from Total War: Arena and looks ugly and low budget. Otherwise, the panels and icons of the unit are transparent and easy to understand.
In terms of functionality, A Total War Saga: TROY sometimes went well in the crusade and in war for my configuration (RTX 2080 TI, i9-9900K). Functionality and symbol drop occurred in a quick scenario when the map was slid, while maintaining the order of movement of a unit. Some unit animations are also bizarre up close. More annoying, I experienced a slight delay in the user interface and controls of the unit, which can have an effect on tactical control.
In terms of errors, in addition to the revolutionary Epic Mission scenario, collision detection is disabled. I saw that AI teams were passing through my own unit when they shouldn’t be able to do it. This was provided in some of the first promotional fabrics and still wants it to work. In addition, as a result, the amount appears to be smaller, which is because the engine is used for Warhammer, which has the proper collision detection. Apart from some minor clipping disorders on the maps and weapons in the sets, I have found no bugs or other primary errors.
A Total War Saga: TROY is a great sadness on several levels: mechanically, creatively and technically. This reaffirms that a company with the resources to do wonderful things prioritizes incremental steps rather than not repressing and not advancing the series and therefore gender. The perspective was there, but TROY ends up being very easy, a popular delight of Total War and, as a customer, critic and player, it is vital to request more from this venerable series.
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