Thorvald of Lym
A Little Sketchy
I think I can summarize thus: Red Alert was a subtle type of humour. RA2 was cult-classic sort of camp, but still had a thread of dignity. RA3 is like the drunk who tries to take himself seriously: it's only a matter of time before he trips up.Seems as insane and time travel-ridden as ever...![]()
Gameplay aside, RA3 appeared to market itself on the visual element: big name actors, ludicrously cartoon graphics, and women.
Good God, the women.
With the exception of Tanya and one scene each in RA and RA2, I challenge you to find a female officer bare below the neck in the previous games. RA3, I don't think I came across a single actress who wasn't showing cleavage. Someone somewhere made the comment "Pervert Alert 3", and I can see why.
What little story there is to the game feels like a cheap rehash of its predecessors. Let's go back in time for the win! Done in 1. High-ranking military official who betrays you? Done in 2. Lead character assassinated by his own side? 1 and 2. While I did have to smile at the irony of Einstein's death, as a whole the premise felt forced and (oh teh noes!) uninspired.
Then we look at the script, and this is what truly let me down. Westwood established its reputation through its storytelling ability: part of the lasting legacy of the C&C franchise is the saga itself. RA was, if I may use the word, intimate, thanks to the complexity of the characters. RA2, while perhaps not as "deep", is viewable as a black Cold War comedy. RA3, to me, was dry: "Go do this mission good work soldier now kill more enemyz". You hire Tim Curry, George Takei and Peter Stormare, and you can't come up with a more engaging script than this?
It was the same (albeit lesser) problem with C&C3, and the suicide of C&C4: a new director usurps the reins without even attempting to familiarize with the source material, and the result is pulp fiction.