If only Atomic Heart’s systems were as stunning as the game’s visuals, it would be amazing.
Until it doesn’t, like an idea that was funny once, but dropped. Other weirdness abounds, like the vending machine that disgorges weapons and a steady stream of steamy sexual innuendo. At least in the English version, he’s voiced competently but written in a way that’s an uneasy fit with the narrative. Nechaev himself is a confusing mixture of frat-boy jokes and serious psychological pathology. It can’t decide if it wants to be a dark allegory about socialism, capitalism and technology, or a satire. This lack of consistency shows an ugly side in the game’s narrative tone. Over and over, the game’s obvious ambition was countered by a lack of coherence. But there’s some Half Life mixed in, mechanics cribbed from Arkane’s playbook and a slew of other shooters and RPGs. Yes, Atomic Heart shows the influence of BioShock. Atomic Heart needs to explain itself better in many ways. Of course, dozens of other shooters and RPGs have similar systems, but they usually take pains to explain how each one works. You need recipes, crafting materials, keys, and other detritus, you need to upgrade weapons and powers and solve lock puzzles and attend to the narrative and objectives.
For example, early on you suck up random materials in the world, but have no idea what they’re used for. A pet peeve of mine is any game that requires a player to jump or navigate vertical walls, but doesn’t make the mechanics fun or even consistent.Ītomic Heart has a huge catalog of systems, but rarely introduces them in a way that feels coherent or intentional. What never felt good was the game’s light platforming sequences. Ranged weapons and Charles’ powers fare a little better. Connecting with robot skulls via a swing of the axe or later-game club is fun when it happens, but it all too often doesn’t.
Melee combat in particular never feels precise. That said, however, combat is still pretty janky.
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