Try twenty of them, accompanied by about fifteen Gnaar, and those are the ones attacking you from behind. How I laugh at the John who was playing that first level and thought three of them was something worth worrying about. It took me a while to remember and practise the techniques for taking out the three Kleer Skeletons, but then it's relatively simple. It's still relatively fair in this first level. Non-stop panic until you switch the thing off, exhausted. Because now you've got dozens of enemies charging at you, and only this rubbish little gun and your fists, and it's panic time. This false start seems to serve no other purpose than to screw with you. A vast alien ship flies overhead, there's a mighty explosion, and a building falls down. When you eventually find a pistol the enemies remain here and there, enough to manage with the infinitely reloading pop-gun. Which rips her eyeball out, killing her, leaving the eye in your hand as a trophy. The first thing you see, before you even have your hammer, is a female Gnaar - the giant, hulking beasts that lumber on their knuckled forearms - and have nothing to do but opt for E to melee. Surrounded by buildings, working your way through narrow passages with just a sledgehammer, it certainly doesn't feel like that ludicrously wide-open opening of the original Serious Sam. The very beginning of the first level starts you off on a rooftop in a very detailed, crumbling city. It's interesting how it pretends it's going to be otherwise at the start. Serious Sam 3 is looking like the antithesis to all of this. This has of course led to the current state of the most successful shooters, where not only are you led by the hand through its loosely connected cutscenes, but now the other characters in your squad play the game for you. And pretty much all of them have considered that they should never be unfair at any point. Others fear that players will become bored if they struggle at any point, and wander off to spend their money at another publisher's shop. Some do this out of a desire to ensure their narrative spurts out in the order and pace they demand. Because the general consensus amongst FPS developers is that the player should be able to continuously progress. While so many become difficult due to either poor design or poorly realised boss fights, none is intrinsically a hard game. Good grief, I'd forgotten quite how molly-coddled I've been by shooters for the last decade. If these three levels set in Egypt are anything to go by, those people - the people who understand - are going to be extremely happy. And they want it to be really, really hard. They want to be constantly running backward to stand any chance of surviving. They want a lot of monsters on the screen at once. There are certain things people want from a Serious Sam game. Rock, Paper, Shotgun is the first place in the world to have been given a few levels of Serious Sam 3: BFE to play with, and I've now killed and been killed within them an awful lot. I hope it goes away soon, because this would be no way to live. Despite the fact that I'm no longer playing the game, I can still hear the incessant roaring scream of the droves and droves of bomb-wielding suicidal maniacs charging toward me, somewhere inside my brain. I can still hear the screaming headless kamikaze.
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