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You can't avoid fights, characters lack snappy lines, and when early boss Skeleton King informs you "all will suffer as I have suffered" it's with the tone of one who has endured piles, voice acting being far from the game's strongest card. Unlike Doom, there's occasional talking to the monsters but it adds little. It's earnest nonsense but hard to totally dislike, particularly when baddies boast glorious titles such as "Sepsis the Disembowelled". This time you're up against Belial and Azmodan, who won the civil war in hell against Diablo himself. In contrast, the plot offers little replay value.
The same is true for the randomly generated maps, enemies and treasure, which ensure campaigns do not involve trudging through the same territory. Your first playthrough will only take you halfway to the level cap of 60, so this freeform micromanagement only encourages further attempts. In Diablo 2 my paladin was effectively committed to a sword- and shield-bashing approach from the off, but here my trusty barbarian Grunhelda was bringing her gargantuan electric battleaxe down upon the head of a stunned fallen one moment before using a poisonous spear to pull an evasive witch towards her the next. This system isn't one for purists but it allows for much greater experimentation.
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Unlike with previous games, however, specialising isn't fraught with the risk of finality as you can redesign for free at any time.
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The most intriguing is the witch doctor, who summons waves of dagger-wielding fetishes or plagues of exploding toads to do his dirty work.Īs you level up you unlock greater skills, and by the end of the first act you'll boast a full array of abilities mapped to the face keys and triggers. Wizards use ranged and defensive spells, while the demon hunter is a purely ranged class deploying duel crossbows like a badass Van Helsing. Barbarians are straightforward tanks, joined in the melee by nimbler, fist-fighting monks. Precisely how you fight is radically altered by your chosen class and customisation.
Learning tactics and prioritising opponents becomes essential, particularly when up against bosses with humongous hit points. Fights are frenetic but button mashing can only take you so far. Most monsters are enjoyable fodder but you will also encounter conniving adversaries liable to slow you down, buff their accomplices and emerge unexpectedly. But before long you're battling unholy hordes of deadly foes, furiously hammering the buttons in a desperate attempt to stay alive until the next health globule appears or the cooldown on potion-use expires. On normal difficulty – the highest available at the outset – there's a dearth of challenge as you dispatch enemies in manageable numbers with limited attacks. The game's opening is its weakest section. If anything it possibly works too well, with your character wielding dazzling weaponry from a very early stage. As in previous games you can always retreat to the town hubs to store loot, trade and heal, but crafting now plays a more significant role, with rare finds broken down into minerals that can be ploughed back into better kit. There's less loot around but what's available you will mostly want to equip. The auction house is banished to Dante's sixth circle, replaced by an emphasis on finding quality out in the field.
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We're talking offline play, localised multiplayer on a single console for up to four players, and a complete overhaul of how loot is implemented.
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This boasts all the PC version's updates but with its irritations removed leaving a slicker experience that feels surprisingly natural with gamepad in hand. Now Diablo 3's on consoles the question begs: are the forces of hell to be unleashed on internet forums once more? A nd lo, Diablo returned after 12 years and the fans were sore afraid, as the enjoyment of a fundamentally brilliant hack'n'slash RPG was sullied by always-online DRM, server crashes and a loot-diminishing auction house.
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