The Pre-Sequel delivers a whole lot of that, starting with its four new playable characters and their positively nutty skill trees. Things do pick up in the latter half of the campaign, but this sort of buck-and-stall pacing has plagued the series for years, and it gets harder to forgive with each iteration.īut once The Pre-Sequel hits its stride, we get down to what Borderlands has always done best: the bullets start flying, the loot starts dropping, and joyful chaos ensues. In a game about shooting and looting, I should be doing those things almost constantly, but in The Pre-Sequel there were times when 10 or more minutes could easily pass without me doing much of either. Apparently neither the Hyperion or Dahl corporations know how to make doors in space, because almost every single one you need to go through requires you to throw a breaker or manual override somewhere back in the area you just slogged through. The Pre-Sequel is cardinally guilty of this one. I just don’t want to walk towards a diamond on my mini-map for god knows how long to get to where the fun is.Īnd I really don’t want to go on a multi-step wild switch hunt to trigger said fun once I get there. The early hours on the moon were particularly trying, since everything is incredibly spread out, and every low-gravity jump takes seemingly forever. The inadequate waypoint system that doesn’t save you from going in circles while looking for your next objective, the boring trek back to your quest-giver at mission’s end… it’s all still here. This is part of a problem Borderlands has had since the beginning, and The Pre-Sequel hasn’t solved it. It’s a good thing too, because those laughs were often all there was to carry me through the long stretches of purposeless wandering around with barely anything to fight. He's every bit the hilarious, ego-centric asshat here that we remember him as, and his excellently written and delivered dialogue is responsible for the lion's share of the laughs. Writer Anthony Burch shows a real knack for storytelling here, drawing a more sympathetic portrait of Jack without ever making him into the clichéd misunderstood villain. Seeing his journey from hero to maniac is perhaps the biggest reason to make the 20-or-so-hour trek across Pandora’s moon, Elpis. In Borderlands 2 he was perhaps the most gleefully sadistic, and effective video game villain since Final Fantasy 6's Kefka. The real star of the show in The Pre-Sequel is Jack.
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