Central trio Mac, Tyler, and Jess have voice talent trying their hardest to make their lines sound like human beings communicating, but there’s evidently only so much you can do with lines like “Wow, the torque on this thing!” and “Guess I’ll just have to beat you all.” The Hollywood set-pieces are jarring cut-scenes that rob you of the satisfaction of pulling them off, and the corny dialogue comes across as inept, rather than knowing. That appeal, the central kitsch of F&F, is lost in translation in Payback. Those movies which, famously, exist on a precarious ‘so bad it’s good’ appeal hanging above every set-piece like the sword of Damocles.
After all, if Vin Diesel one liner-ing his way through wafer-thin scripts about cars driving through skyscrapers makes for a box office smash, why can’t a game appeal to that same appetite? Everything about Payback-the quasi-Vegas setting Fortune City the revenge plot the love for tuners getting airborne and smashing things-harks back to those movies.
The problems begin with the esteem Need For Speed Payback holds the Fast and Furious franchise in.
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