A well-upgraded melee weapon can slice an Android in half, exposing its sparking cable-entrails.ĭodging is critical here, and you’ll get indicators showing you when an enemy is charging up a critical attack capable of knocking you off your feet, and leaving you vulnerable. You’re not as mobile as, say, Doom Guy, and won’t be leaping between platforms while kiting around a swarm of quaintly mustachioed androids and cleaning-or-farming-turned-killer robots, but it still manages to feel impactful. You mainly achieve this by smashing your way through tons of wonderfully retro-styled robots (and a few plant-zombies) using a combination of dieselpunky firearms, brutish melee weapons, and polymeric (basically tech-magic like Bioshock’s Plasmids or Prey’s Typhon Powers) superpowers. Someone’s reprogrammed the worker robots into combat mode, they go berserk and kill just about everyone, and it’s your job to get to the bottom of the conspiracy. But rest assured that as with all the great single-player shooters–which Atomic Heart can certainly hold a light to if not quite match–shit soon hits the giant turbine fan, and you’re having to fight your way through a veritable robo-pocalypse. For a while it’s almost alarming seeing a depiction of the USSR that’s so glossy, so flattering–like one of those aspirational propaganda posters showing a man ( or, more aptly, a robot) looking to the distance while an out-of-shot sun casts those radial beams from the corner of the picture. Like the Half-Life train ride back in 1998, or the descent into Rapture in Bioshock in 2007, Atomic Heart’s opening feels immensely confident, no doubt bolstered by the inherent peacocking pomp of the Soviet Union.
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