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Nina also as a power attack meter that, when filled, allows her to shatter an opponent's bones, doing major damage. They start out nice and fun enough – activated by pressing the right analog stick in directions to attack, and on the left stick to dodge. This is a big thing, because the controls by themselves are no picnic, and having them affected in the heat of battle or exploration by the camera just makes things worse.Īh, the controls. The camera is slightly more controllable in the shoulder view unfortunately, there are many parts where the shoulder view becomes disabled (and a corresponding icon will appear in the corner of the screen), resetting the camera algorithm, and often affecting directional controls until the player is forced to reassert the camera on their own. Often the camera centers on things that are inconsequential to Nina's progress she'll be fighting hordes of thugs in front of her, yet the camera will be merrily centered on the empty surroundings to her rear. In the traditional view, the camera is uncontrollable, and changes to it are only triggered when Nina moves too far in a particular direction. One is traditional, the other is behind Nina's shoulder. The game has two views, both third-person. Good luck getting it to do what you want it to do, ever. The most glaring flaw is the in-game camera, which is spastic to say the least. There are three things here that, by themselves, only mar the overall enjoyment of a game however, when their powers are combined, they create a force that makes you want to throw the darned thing out of the window. Witnessing it in action is a joy it is playing it that the frustration appears. Unfortunately, these are consistently the best parts of the game. The English voice acting is also very well-done (well, I liked it, at least), and lends character all the way from Nina, her cohorts and enemies, to the lowliest of guards. Even melee attacks have their own aural identity, from basic kicks to the bone-shattering power attacks.
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Sound effects are dead on weapons have realistic sounds attached to them gunshots sounds vary with the type of gun used swords clang against and cleave their targets tonfa and stun batons smack against and shock whatever they're laid against. The theme song in the opening video is quite nice, however, and catchy as all get out. It actually creates a nice sense of routine, but people looking for epic soundtracks should look elsewhere. The soundtrack, while a decent rock mix, is actually very limited, and you'll be hearing the same tracks before long, for fight scenes, for cut scenes, and for the actual game portion, which is fittingly more subtle than the action parts. There's little in the way of graphical bells and whistles, but nothing looks bad, either. There are some points in the game where the polygon count drops to scary, PSX-esque levels, but these are few and far between. During these multi-man melees there is no slowdown whatsoever, and the action is clear and fluid. The presentation is above adequate for a title that demands so much of the PS2, especially during the action sequences when Nina's forced to fight wave after wave of enemies and guards, which may or may not have their own special gear to carry around. It's a formula for a good, fun game – which is, sadly, clad in most of the shortcomings of a bad one. and just as many card key-type mechanisms which come in the form of fingerprints that enable varying levels of security access. What follows is a Metal Gear Solid-esque romp through intricate facilities, such as the aforementioned ship and a prison complex only with much less stealth, and much more killing. It was supposed to be a covert mission however, you're thrown in right at the point where things start gong horribly wrong, and now it's up to Nina to clean up the mess the best way she's been trained how.
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A super-weapon has just been completed plans are to sell them to the highest-bidding terrorists for a whole lot of money. The story centers on Nina's tenure in the CIA she and two MI6 agents are sent to infiltrate a cruise ship run by a weapons-smuggling organization by way of a fighting tournament being held there. It is a game that you play much the same way you attempt to play a complicated instrument every time you think you are proficient at the title, there is always another hurdle for you to jump, and every time one of these hurdles is discovered, you ask yourself if it's really worth the trouble it takes, even with the beautiful music you end up playing. What Death by Degrees does not want you to know that once you boot it up, it will fight you every step of the way.