Gamespot, this game deserves better treatment, shame on this website for this score and many others games
A strong protagonist and enticing visuals make Venetica worth playing, but problems with the questing and combat drag this role-playing game down.
- Dialogue choices help shape your character
- Good artistic design.
- Shallow combat
- Poorly developed antagonists
- Flawed map
- Repetitive quests.
A great introduction is not always a portent of things to come. Venetica begins in the middle of chaos: Murderous bandits have taken their swords to a small mountain village. They move with deadly precision, laying waste to the meager buildings while slaying any red-blooded protector who tries to stem their violence. And just when this vile rampage draws to a close, you find out that the heroine, Scarlett, is the daughter of Death. It's an opening that's worthy of an epic adventure, but it becomes clear before long that Venetica's potential has little chance of being realized. A deluge of repetitive quests weighed down by tiresome combat and a map system that doesn't function properly remove much of the delight from your vengeance-fueled adventure. Because of the problems plaguing the core of this role-playing game, it's difficult to find a good rhythm and enjoy the finer aspects. A strong protagonist whose personality you mold throughout the game is the main draw, and eye-catching sights make it a pleasure to explore this world. Venetica has enough aesthetic rewards to make it worth playing, but you have to put up with lots of gameplay problems before you can experience them.
Scarlett does not embrace her role as a hero willingly. In the midst of the dying cries emanating from her formerly peaceful village, one soldier's sacrifice cuts much deeper than the rest: her beloved Benedict dies protecting her. It is this act that fuels Scarlett's quest to seek vengeance on those who caused her loved ones so much misery. The primary story thread in Venetica revolves around the doge of Venice and his unseemly counselors who have turned the fair city into one teeming with mercenaries and necromancers. Cutscenes sprinkled throughout the game highlight the villainous individuals at the heart of the problems, but their evil laughs ring hollow because they're depicted as one-dimensional caricatures. Victor is the mastermind behind this insidious plot, and he does fill the part of evil megalomaniac adequately enough, but his predictable motivations give him only slightly more life than the people whose strings he's pulling.
That's not to say the story is without any lure at all, though. There is a chance to get invested in this tale when you have a choice in how certain situations play out. Unlike in many other role-playing games, decisions are not tied to a morality bar, nor do you need a certain amount of charisma to say specific things. Instead, options are open to you from the beginning, and you mold Scarlett into whatever character you fancy. These decisions shape the way people view you and make various quests open up, depending on what road you choose, but more importantly, they give Scarlett a personality you can relate to. Many times, the choices you have are small, limited to the situation directly in front of you with no long-term ramifications. Ultimately, it doesn't matter if you choose to attack a tight-lipped prince to find out a password or befriend him with kind words: you get what you need either way. But by having the option to approach this situation from different angles, you form a connection with the protagonist that you may not have otherwise formed. You have many open-ended choices throughout this adventure, and they serve as the strongest hook tethering you to this world.
It's when your character interactions switch from wordplay to swordfighting that things take a noticeable turn for the worse. Combat in Venetica is shallow and repetitive, relying on little more than rhythmic clicking to get you past any foe. You have a few different weapon types at your disposal, each with a unique strength and weakness, which does open the door for some mild strategy. For instance, your heavy hammer cracks the shells of bioluminescent crabs in a pinch, and you need your cursed moonblade to put down any demon who threatens your life. But that's the extent of the planning required to slay the men and beasts that stand in your path. Being Death's daughter, you do have one handy trick up your sleeve. If you should fall in battle, you are whisked to a plane that resides between the living and the dead. In this shadowy realm, you can regain your lost health and move to a more advantageous location, provided you have enough afterlife energy stored up. This momentary reprieve from death doesn't have a significant impact, but it's nice to have a "get out of coffin free" card when you die by unfair methods.
Even though Venetica's combat requires little more than shallow button mashing, it's so riddled with problems that it can be frustrating if the tides turn against you. First of all, each of your four weapon types has a unique block you have to unlock. You have plenty of hotkeys to map your many block commands to, but remembering which command to perform is confusing because you're so often forced to switch between weapons midbattle. Thankfully, you can just roll out of the way of most attacks, but this presents a new problem. It's far too easy to get stuck on pieces of the environment or even your enemies, and the camera is often so tight that it's impossible to get a good look at your surroundings. Furthermore, for as docile as your enemies are for the majority of your outing, they can be downright vicious when the mood strikes them. In a blink of an eye you can be cut to shreds, and this can be maddening because it usually happens when you're trying to roll away but get caught on a doorway.
"Combat in Venetica is shallow and repetitive, relying on little more than rhythmic clicking to get you past any foe." Actually, combat is very good. It involves rhythmic Timing! No brainless clicking, nor tiresome-cumbersome D&D pausing. It allows dodging, regrouping, freedom of movement. It is not the best combat system, like Amalur, but it comes quite close.