I wouldn't say Silent Hill's control scheme was ever particularily responsive or well recieved, and they did use the same control scheme up until the third game.RackGaki wrote:If there's anything to get from my previous post, it's that gameplay trumps graphics. Metal Gear and Silent Hill are valuable because of nostalgia and originality; both have been succeeded by improved sequels. The control schemes are archaic and typical of the times; you couldn't possibly introduce a new Silent Hill or Metal Gear game with the exact controls and game mechanics and expect it to be well received.Chizzles wrote:There are plenty of 3D games on both console that still hold a lot of recognition and playability despite their flawed graphics. Panzer Dragoon Saga, Metal Gear Solid, Silent Hill are all titles that still hold up today depsite their technically flawed graphics due to the level of artistic stylisation
Also, keep in mind that there are plenty of 2D games on PS1 as well.
I would lump those games in with other valuable PS1 RPGs - they remain coveted because of great storytelling and fond memories, and despite everything else.
And, of course, 2D games like Castlevania: Symphony of the Night and Einhänder remain examples of the exceptional nature of 2D gameplay.
However regardless of whether a game is new or old, credit is still due where credit is due and this is something that many gamers and critics seem to be blind to.
No single aspect of a game is more important than the other - it is the overall combination and implementation of how every element adds up to the final product that is important, in the same way a harmony is played. I have yet to stumble upon a combination of visual artistic direction and music that created as unsettleing an atmosphere as interesting to explore as the original Silent Hill, even in the sequels.
I treat video games as I would treat film or music, Technicalities can't be allowed to hold something back from reccomendation for a media that is largley subjective as technicalities alone don't usually detract from merit that a piece may hold unless they are so obfuscating that the piece itself is no longer audible (think of poor sound quality ruining a good song).
