This is all fine, and it's nice to have a few different ending to work towards, but the problem is that the story is so badly put together, the writing is so weak, that we're not sure it really matters that there's more of it to see.
Again, we're not going to spoil anything here but, from our experience, these big moments do little more than set off some fireworks here and there on the world map and shuffle you down a slightly different route in terms of the characters you need to converse with. Of course there are also narrative choices to be made this time around, an aspect of the game that's been a big selling point in the run up to release and yes, there are a few moments where you're forced - on a timer - to make a decision. This universally weak characterisation and writing, accompanied by some seriously bad voice-acting in places, means you'll soon tire of traversing the rooftops of this zombie-infested metropolis just to arrive at your next objective where you'll need to endure yet another shouty, pointless, tonal whiplash-inducing conversation that advances absolutely nothing plot-wise. They're covered in scars, drink a lot, make childish sex jokes, shout about shooting people in the genitals and there are just far, far too many of them to remember who is who and what exactly their part in the convoluted mess of story is.
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There's not a single person here who isn't an angry violent mess of cliched, bargain basement action movie drivel. Aiden is little more than a glorified errand boy for the duration of this adventure, and you'll spend almost the entire 20 hour campaign shuttling around the game's huge map doing trivial busywork for a bunch of highly unlikeable characters, all of whom are drawn in the most basic and cliched of manners. We won't really go into any more detail on the story front here for fear of spoilers, but what we will say is that, just like the original game, the narrative here is easily the weakest aspect of proceedings, delivering a campaign story that starts badly and ends a whole lot worse. This is a sequel that, in almost every way, is a noticeable step down from its predecessor a sprawling, messy, kitchen-sink style affair that loses itself in mindless open-world faff whilst fumbling its core gameplay mechanics, resulting in a game that just doesn't stand up to what's come before.ĭying Light 2 kicks off some 20 years after the events of the first game and sees you assume the role of Aiden Caldwell, a bland cut and paste protagonist, who's arrived in the game's enormous City setting in search of his long-lost sister. In terms of giving you a lot more content, it most certainly delivers, however, in doing so it's also managed to dilute the essence of what made Dying Light feel so very special. With Dying Light 2, the Polish developer has touted a game world that's four times bigger than the original's Harran, with tons more verticality, bigger zombie hordes and just generally more of everything. It was, and still is, a very, very good time indeed.Īnd so it'll come as no surprise that we've been more than a little excited to see just what Techland could serve up in this long-awaited sequel. A uniquely gritty, ultra-violent affair that makes up for its narrative shortcomings with top-notch parkour gameplay and satisfyingly bloody combat, it's a game that took the tired zombie genre and gave it the shake-up that it needed back in 2015.
A predominant Day-Night cycle will heavily dictate the way zombies behave.Techland's Dying Light is, hands down, one of our favourite zombie-flavoured survival horror games released over the past decade. Using various tools, weapons, and parkour skills, players must work as a team to survive. Players are thrown into a open world environment amidst a zombie outbreak.
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