“Soviet Bioshock” is both a trite and unfortunately descriptive of Atomic Heart as a piece of art. There were some serious “wow” moments, even if they were just a little too far apart sometimes. One of my new all-time favoriteFPS boss fights is in here (complemented by Mick Gordon’s fantastic soundtrack). Some of the weirdest, most inspired visuals I can recall are packed into this game. Atomic Heart has a few eye-popping set pieces and some incredibly detailed animation. That’s not to say there aren’t surprises to be found. By the end of the game, I thought I’d go insane if I saw another one of the once-endearing door lock puzzles. But there are too few ideas stretched too thin to warrant such a lengthy experience. There are essentially two games in Atomic Heart - one where you’re doing Far Cry-esque exploration and looting, and another where you’re moving through more traditional single-player “levels.” I guess it reminds me a little of Elden Ring’s “legacy dungeon” approach to open-world design. This sort of freedom of exploration isn’t present in the main story, however. It was materially and intrinsically rewarding, and there wasn’t a single waypoint or clue as to how I should’ve accomplished it. To restore it, I found a hidden sewer entrance underwater where I needed to overload boilers to burn away the vines that were blocking the area’s flying power beacon. In one instance, I explored an entire town overrun with killer plant life only to find the power was disabled. Merely locating, unlocking, and entering these can be a challenge on its own. Most important are the Polygons - bespoke puzzle and combat dungeons that reward precious blueprints for upgrading your weapons. Once you crack out of the first area you’re free to explore as little or as much of the vast countryside as you’d like, and there is a lot (maybe too much) to see. I wasn’t quite sure if this was an “open world” game, but I think it’s a fair descriptor. What follows is a rather prolonged “prologue” section which consists of about three hours of linear or near-linear combat, puzzle solving, and narrative exposition before you’re really let loose in the open world. Just about every enemy and design has made its way into the game in spectacular fashion, and as someone who was certain this game didn’t even actually exist, I’ve gotta say I’m pleasantly surprised. It’s easy to say that the tone and aesthetic are largely intact from those early days, and it’s likely the case that those were some of the earliest concepts to solidify. Sitting here, having just watched the trailer and played the game, I’m surprised at how much held strong throughout the last half-decade. From creepy clown robots to the eerie, undulating meadow laced with a mysterious clear liquid, the whole atmosphere just oozed this unsettling verve. It’s got one of my favorite broad-stroke styles - that which combines childlike nostalgia with sinister undertones (think more Skinamarink or Boards of Canada and less Five Nights At Freddy’s). I remember sitting in awe, thinking to myself that I hadn’t seen an aesthetic quite like this ever before. It’s hard to believe it’s only been five years since Atomic Heart‘s first teaser trailer.
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