Yes, areas are very small, and action is heavily scripted. Vaulting over something is what you have instead of jumping - and you can't always tell what you can 'climb'. I guess Assassin's Creed is not the only victim of such. The drunkenness might explain the sluggish, unresponsive controls that cause needless frustration - it'll rush ahead or stop in its tracks with no warning, and instead of preventing you from going that close, proximity to walls will make you point your gun up - again, suddenly, and taking time to get back out of that mess. At least this does do many fun set-pieces where you're leaping through the air, on a vehicle or the like, where you aim and fire. You simply can't choose the approach(it even chooses to spawn more opponents, early on it may even do so in your blind spot, preventing you from getting your bearings - and then expects you to gather ammo, as well as painkillers, that thankfully mean you have to work for health), for the first time in these, and exploration is all but gone. and this happens within minutes of each other, there may be as much time just watching as playing it will leave you in a bad position, with the worst weapon ready, no reloading and you not having time to do so yourself - and the foes typically already know where you are) and lead you to the next shooting gallery, rinse and repeat(rather than the more varied game-play, particularly in the '07 original where you assault somewhere, complete something vital, and then exfiltrate, trying and failing to do so without causing damage and hurting those you don't mean to).

Nothing is getting accomplished, so what's your motivation to keep playing(as opposed to small, and sickening victories - you're doing what you have to, and no progress is pleasant, it's merely getting you towards the peace and hopefully closure of the conclusion)? Cutscenes(with choppy, hand-held cinematography and color blurring, evoking the sense of being there, and being overpowered by what's going on around you - with the panels so replaced, what was a retelling is now an inescapable reality) take control from you(immediately breaking up your getting into it. And once one has drawn that comparison, here's where those work(I'll put those parts in parentheses at the end of sentences), and this fails: what you'll realize in this is that whether you've played this for minutes or hours, what's happening will be the same. With it being him instead of them, it doesn't make that much sense. In many ways, this feels like Kane & Lynch. It's no longer personal, and there's no new fleshing out of him as a person. While a new setting is fine(and kudos for the choice to have most locals talk Portuguese, without translation - we feel his isolation, the foreign nature of his surroundings), and it is explained why he ends up there, it has no connection to him, he feels placed in someone else's story.

You can already see some of the problems. When someone under his care is abducted, he tries to get them back(as unlikeable as they, and most characters in this, are). you get to go around in it, visiting, among others, a nightclub, a mansion, and most engaging and threatening, the favela), bodyguarding rich socialite brats. He is recruited by Raul(Dean, charming) for a job in Sao Paolo(which is authentic and detailed. With the passing of nearly a decade, the events and growth of The Fall are forgotten by the developers, with a retcon allowing for a retread: the death of his family tortures Max(McAffrey doing great with decent material), who disappears into a bottle.

Max payne 3 cutscenes