![]() >Use more realms than just Earthrealm, Outworld and Netherrealm. They need to back to the mystical fantasy roots with ninjas, shaolin, outworld etc. People weren't happy about it with X so why do it again for 11. It was OK for one game but another was overkill. ![]() Nearly three years since 11 came out and I still don't have certain skins or gear pieces. >I don't mind bringing customisation back but I'd make it less grindy. >Ditch the cinematic story and do a mix of Deception's Konquest mode and 11's Krypt. (yeah he made it but he should've been there day one). ![]() Nightwolf and Sheeva turned out great in 11 but who in the fuck actually requested them enough for them to be DLC. Don't just do another Trilogy reboot, we only had one barely ten years ago and there's no need for another so soon. Keep the characters from X and 11 but just start a whole new timeline where they all exist at once with the Trilogy and 3D characters. Sitting through every fatal blow while grinding character towers was torture. If I have to do them then I'd make them shorter. >No comeback mechanic or fatal blow equivalent. That said, the MK2 roster of characters is hard to beat and I would miss them were they not present. There's something appealing about throwing expectations out the window and just starting anew. Storywise, my first instinct is to go for a full reboot of the series. Fatal blows would remain in game and would still be limited to one per match, but would no longer be limited to a low health character. Ending the match with specific moves (the current MK11 brutality system) would result in a fatality.įighters would no longer have variants or augments, and all costumes/gear would endeavor to stick to a character's specific silhouette and color scheme to avoid confusion. Now when an opponent gets whittled down to the "danger" state, you get the "FINISH HIM" prompt, meaning that the opponent is in a killable position but can still fight. No more whittling down a health bar to zero and then doing an esoteric combo to watch an animation play out. The biggest and most controversial change would be the reworking of the fatality system. The customization was well implemented, but at some point, notes of the character could get lost in all the color changes and crazy costumes. The story, while well done, lacked the charm that comes from having a fighting tournament that determines the universe's fate and felt more like the characters were just happening upon one another and then kung fu fighting. I thought the offense/defense bar system worked relatively well and that the fatal blow system was better than the segmented X-Ray super meter. I really liked the more measured pace to the fighting itself and how they reigned in the stupid endless juggles that permeated MK9 and MKX. I also came away not liking the pick-and-choose special moves that lead to variant controversy, and hating the augment system. I came away from MK11 primarily thinking that the brutalities were way more engaging and dynamic than the fatalities. Mechanics-wise, storywise, either/or, how would proceed with another Mortal Kombat game? Do you continue the story from 11 or do you reboot? What does your roster look like? Do you take risks with tried-and-true mechanics or play it safe? I love the self-aware dark humor, the creativity of the violence, the single player content support, and the roster of characters. This will go hand in hand with the history of Black creators in the arts, and trace the story of their work through some of these iconic names.MK is easily my favorite fighting game franchise of all time. History takes us to the contemporary, and we will look at the Black artists today playing their part in the story of Black excellence and creativity with boldness and brilliance: including Kehinde Wiley, Bernardine Evaristo, and Kara Walker. We will highlight icons from across disciplines, and explore the work of Prince, Aretha Franklin, Jean-Michel Basquiat, Toni Morrison, and Miles Davis. We will also highlight history makers and trailblazers, whether those at the turn of the century like Duke Ellington and Billie Holiday, or those established at the legendary Black Arts Repertory Theater in Harlem, New York, and the creators the movement included: names such as Audre Lorde, Ntozake Shange, Thelonious Monk, James Baldwin, and Gil Scott-Heron. This month we will highlight Black artists on the platform who use their talents to promote not just Black excellence, but the Black experience.
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