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Another element of Die Hard Trilogy 2 that PC gamers might find somewhat foreign is its sharpshooting category. In the grand tradition of classic arcade titles such as Sega’s Virtua Cop series, McClane is thrust into environments that are rife with extremely hostile and lethally armed enemies. The action is witnessed through McClane’s eyes as he passes through the various halls, warehouses, and casinos on his way to the requisite final boss. The camera in this scenario cannot be controlled, leaving you to watch as John ducks behind counters, jumps over tables, and crawls through airducts. What can be controlled is his trigger finger. As the view moves through the different areas, enemies rapidly appear with incredible frequency, often leaving flashing blue and red crosshairs to differentiate between them, and to show you where they are. This aid becomes incredibly helpful as increasing amounts of foes make their way on-screen, often flooding your field of vision and generally making your life very difficult and painful. Much like the action-adventure sequences, John’s 9 mm pistol never leaves his side, giving him with only one open slot for an extra weapon. Unlike the previous mode, however, these weapons can only be found by blowing open crates and other containers as McClane dashes through the killing fields. All in all, the sharpshooting is extremely simplistic, requiring some aiming and a few scant button presses to survive, although it can often be a nice throwback to arcade gaming while spacing apart the occasional monotony of adventuring.
No classic action movie would be complete without the mandatory car chase, and just as the “Die Hard” films featured plenty of them, so does Die Hard Trilogy 2. The driving sequences have several different objectives, though most possess the same general feel. This might have something to do with the overall similarity between the various goals, as the two primary types consist of “go here, kill bad guys, go there,” and “go here, collect item, go there.” Fortunately, several factors spice up the gameplay somewhat. In the “destroy the enemy” missions, opposing vehicles must be repeatedly rammed in order to destroy them, with the added constraint of having to complete this under a certain time limit. To complicate matters, some enemy vehicles have been armed with weapons that can not only slow you down, but are capable of destroying your ride entirely. Driving over power-ups, such as clocks to extend your time, nitrous to allow you bursts of speed, and wrenches to repair your car, can reduce all these dangers. To further lend credence to their surrealistic roots, the driving sequences feature a physics model which holds little connection to reality. Nearly 90-degree turns can be made while traveling at ridiculously excessive speeds, and violently colliding with vehicles and other weighty obstacles barely scratches your car. This effect is somewhat distracting, although definitely at home within this particular title.
As you would expect in a game that heavily relies on Hollywood action and visceral thrills as its primary appeal, Die Hard Trilogy 2 is packed to the gills with guns, guns, and more guns. McClane’s standard issue 9 mm is at his side at all times, which not only provides you with a reliable source of protection, but an infinite source of ammo and a handy laser sight. In later levels, however, John’s sidearm has little effect on well-armored foes, and as such his arsenal may be expanded accordingly. Shotguns and machine guns are quite plentiful, not only in storage rooms but also in the hands of your enemies, allowing you to replenish your ammo supply if you can do away with the bearers. If normal weapons aren’t mowing down your enemies quickly enough for your taste, you can also pick up special items such as rocket launchers, flame-throwers, and even shock rifles. Unfortunately, even these aren’t always capable of keeping you out of a body bag, and so to complement your already impressive arsenal is an assortment of explosives. These can be used in a variety of ways, from simply dispatching your enemy to assisting with the formation of varying strategies. For example, if you’re faced with a room full of heavily armed thugs that you stand no chance of killing, simply stand at the corner, lob a flash grenade into their midst, and proceed to slaughter them all while they’re regaining their eyesight. Other explosives such as smoke grenades and proximity mines allow for equal amounts of strategizing, which is an engaging addition to an otherwise strictly action-based mix.
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