While Eurocom made the N64 version of The World Is Not Enough, Black Ops – the developers of Tomorrow Never Dies – still made the PlayStation version. From playing the games, it doesn’t seem like there was any cross development or sharing resources, both games were developed completely independnatly.
While TWINE on PlayStation is a first person shooter, it still feels a lot like Tomorrow Never Dies. The HUD (which I still can’t see properly) and controls from the previous game are still here, with the developers still not taking advantage of the PlayStation’s analogue sticks. I could create an dual stick FPS-like setup, but without the ability to look up and down (without manual aiming).
The game stars off in the bank but the layout is very different. You go up a lift and then down an oddly long corridor with a lot of cameras – these are a massive pain to shoot due to the game’s shoddy controls and I just gave up and accepted the extra guards. One thing also evident is that the levels in this games are small “rooms” with short loading screens when going through doors, which make the levels feel disjoined.
After this, you get some long clips from the film, as it skips through the attack on MI6 headquarters and we go and chase the assassin down some short, narrow London streets. At the end of this level, the game automatically selects the grapple watch to fire at the hot air balloon. This watch isn’t used to help level design, but instead just triggers cutscenes.
Next up is the game’s skiing level which is just really odd. You have full control of Bond’s movement, but his acceleration has been altered. You awkwardly shoot some enemies and start going own a slope – for around 4 seconds. Due to the game being made of lots of tiny areas, you need to go through a pipe and load the next area, so you get the awkward controls and none of the fun of actually going downhill for a decent amount of time.
Next up is a level that the N64 game skipped, as Bond infiltrate’s Zukovsky’s laughably small casino. This is both the best and worst level. There’s only a few room and your mission is to win money at blackjack, which is more enjoyable than the actual game. I did nearly have to restart this mission due to an NPC blocking a patch.
You also have to use Bond’s credit card lockpick to open a door, which is neat the first time but is used far too much and the animations for it are far too long.
Next up is this game’s stealth level. This takes place entirely inside Elektra’s house, as you “stealth” by running and punching guards. There are a few items you can turn on to distract them. The level design for this mission is just bizarre, as the house doesn’t feel like a house due to its nonsensical layout and completely lacking a front door.
You skip from here right to infiltrating Renard’s men, who are trying to steal a nuke. This level feels really strange as you have to sneak past guards (having to punch some out) as you sneak into an area where you were invited into.
Another mission that wasn’t in the N64 game (apart from a multiplayer level) is Elektra’s pipeline, as you try to reach a bomb. You have to shut off the oil and rescue hostages to reach another part of the facility, then protect Christmas Jones as she fixes an oil pipeline maintenance vehicle.
The “City of Walkways” is a single level in this game, and feels far less dynamic, with the helicopter fight being extremely dull and then it’s onto another chase level, which coincidentally involves a bomb being placed in a train station (this time in Istanbul instead of London).
After Bond gets captured, you get to see a lovey, large room with big windows transform into a tiny room in a dungeon. The film footage and game design don’t match in any way whatsoever and I don’t know why they included the torture chair – they could have omitted it and it would have seem like Bond had moved to the next room instead.
You need to go back and forth then fight a few bosses. The first requires you to unload a few rounds from your assault rifle, the second is immune to all of your weapons due to “special armour” (he’s wearing a suit) and you’re told that you need to throw his explosives back at him. Headshots don’t do anything and the game gives you a grenade launcher, which also does nothing. You can only kill him by throwing his own pipe bombs. It’s just odd.
The final mission is on the submarine as you chase Renard. You have to navigate a really strange room filled with toxic barrels. When you reach Renard, you have a boss fight – but not against him, but against a reactor instead. There’s no flooding, and then you run back through the level.
The ending to the level isn’t locked away this time, however there is a secret video if you complete the game on the highest difficulty – which is just the sex scene from the end of the film. There are a few cheats to unlock, but there’s no multiplayer.
It’s amazing just how different these two games are, with the N64 version of the game being a much better game all around. The PlayStation version is stiff and disjointed.
While TWINE on PlayStation is a first person shooter, it still feels a lot like Tomorrow Never Dies. The HUD (which I still can’t see properly) and controls from the previous game are still here, with the developers still not taking advantage of the PlayStation’s analogue sticks. I could create an dual stick FPS-like setup, but without the ability to look up and down (without manual aiming).
The game stars off in the bank but the layout is very different. You go up a lift and then down an oddly long corridor with a lot of cameras – these are a massive pain to shoot due to the game’s shoddy controls and I just gave up and accepted the extra guards. One thing also evident is that the levels in this games are small “rooms” with short loading screens when going through doors, which make the levels feel disjoined.
After this, you get some long clips from the film, as it skips through the attack on MI6 headquarters and we go and chase the assassin down some short, narrow London streets. At the end of this level, the game automatically selects the grapple watch to fire at the hot air balloon. This watch isn’t used to help level design, but instead just triggers cutscenes.
Next up is the game’s skiing level which is just really odd. You have full control of Bond’s movement, but his acceleration has been altered. You awkwardly shoot some enemies and start going own a slope – for around 4 seconds. Due to the game being made of lots of tiny areas, you need to go through a pipe and load the next area, so you get the awkward controls and none of the fun of actually going downhill for a decent amount of time.
Next up is a level that the N64 game skipped, as Bond infiltrate’s Zukovsky’s laughably small casino. This is both the best and worst level. There’s only a few room and your mission is to win money at blackjack, which is more enjoyable than the actual game. I did nearly have to restart this mission due to an NPC blocking a patch.
You also have to use Bond’s credit card lockpick to open a door, which is neat the first time but is used far too much and the animations for it are far too long.
Next up is this game’s stealth level. This takes place entirely inside Elektra’s house, as you “stealth” by running and punching guards. There are a few items you can turn on to distract them. The level design for this mission is just bizarre, as the house doesn’t feel like a house due to its nonsensical layout and completely lacking a front door.
You skip from here right to infiltrating Renard’s men, who are trying to steal a nuke. This level feels really strange as you have to sneak past guards (having to punch some out) as you sneak into an area where you were invited into.
Another mission that wasn’t in the N64 game (apart from a multiplayer level) is Elektra’s pipeline, as you try to reach a bomb. You have to shut off the oil and rescue hostages to reach another part of the facility, then protect Christmas Jones as she fixes an oil pipeline maintenance vehicle.
The “City of Walkways” is a single level in this game, and feels far less dynamic, with the helicopter fight being extremely dull and then it’s onto another chase level, which coincidentally involves a bomb being placed in a train station (this time in Istanbul instead of London).
After Bond gets captured, you get to see a lovey, large room with big windows transform into a tiny room in a dungeon. The film footage and game design don’t match in any way whatsoever and I don’t know why they included the torture chair – they could have omitted it and it would have seem like Bond had moved to the next room instead.
You need to go back and forth then fight a few bosses. The first requires you to unload a few rounds from your assault rifle, the second is immune to all of your weapons due to “special armour” (he’s wearing a suit) and you’re told that you need to throw his explosives back at him. Headshots don’t do anything and the game gives you a grenade launcher, which also does nothing. You can only kill him by throwing his own pipe bombs. It’s just odd.
The final mission is on the submarine as you chase Renard. You have to navigate a really strange room filled with toxic barrels. When you reach Renard, you have a boss fight – but not against him, but against a reactor instead. There’s no flooding, and then you run back through the level.
The ending to the level isn’t locked away this time, however there is a secret video if you complete the game on the highest difficulty – which is just the sex scene from the end of the film. There are a few cheats to unlock, but there’s no multiplayer.
It’s amazing just how different these two games are, with the N64 version of the game being a much better game all around. The PlayStation version is stiff and disjointed.