Nanosuits and stiff, clunky movement shouldn't go hand-in-hand. But in Crysis 2, they do.
As is the case with so many other shooters, the plot of Crysis 2 gets lost in loads of militaristic jargon, courtesy of characters who, though not forgettable, don't leave much of an impression. Essentially, you're thrust into the Nanosuit, an oh-so-fancy slice of technology which will be the key reason you repel an alien invasion in New York City. The aforementioned militaristic part of the plot feels like it's there to give the entire scenario a sense of backbone and authenticity, but it almost immediately becomes tiring in its very foundation. You're just here to kill (or evade) aliens with a variety of tools at your disposal.
So the story isn't worth saluting, but what about everything else? Crysis 2 is a jarring game to pick up, and will likely put several (console) gamers off, due to its clunky controls. It's not just the overwhelming assortment of options to memorize on the controller (and screen), but simply how one looks and moves around. This is somewhere between the quick-yet-smooth feel of Halo, and the borderline-unplayable sluggishness of Killzone on the PS2. If and when you get a fair enough grip on how Crysis 2 has been implemented, some enjoyable moments can definitely be salvaged.
A good chunk of the firefights go without challenge, which means you'll have a decent amount of time to toy around. Difficulty gradually ramps up around the third act, with some scenarios gearing towards one specific play style. While options are always available, many later points might become so overwhelming that the player will simply seek the quickest, most discrete way to complete the mission. This isn't exactly the indication of a fulfilling campaign, and parts of the game really do feel like a chore. For me, it got to the point where I wanted to beat the game for the sake of completion, not out of a desire to play.
If anything could alleviate my reservations to continue, it would have to be looking at the game. And yes, even after two years, Crysis 2 does still look good. But many of the game's prettiest moments occur when you're not even in (full) control of your body. Oftentimes the clunky controls and movement, combined with some frantic firefights, can make the visual feast a tough meal to digest. The setting of New York City isn't nearly as lush as a more open-ended jungle, but there's at least enough color to keep you from being bored by the architecture and designs.
Another of Crysis 2's many inconsistencies is its soundboard. The score is oddly catchy, even if one wishes it would take after the Nanosuit's variety and versatility. Taking part in gunfights opens the door for any number of clashing noises; some of these will be sharp and hard-hitting while others will bestow mellow or unpronounced notes. Some of the harsher sound effects, oftentimes giant, scripted explosions, emit an unpleasant and static-like effect. It's almost as if the game's treble-to-bass balance is out of whack. Meanwhile, the voice acting neither adds nor detracts from the game's plausibility, while the noises of the Ceph, your alien adversaries, are the very definition of the word bland.
In all, Crysis 2 feels meatier (in length) than it really is. Perhaps being built from the ground-up with consoles in-mind led to the abundant limitations and compromises which are present. But if such an attempt is to be made, it should be done, first and foremost, with the experience in-mind. Crysis 2 certainly has the tools to leave a strong and positive final impression, but without proper utilization, it's just a sloppy assortment of toys for one to struggle with.
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