The thing that really sets Dying Light apart from other survival horror games, though, is how Crane gets around the city: via superhuman parkour feats. You eventually get more and better weapons, and I don't think I've ever felt so relieved in a survival game when that happened. If I were dropped into a zombie-filled apartment complex with blood and dismembered body parts everywhere, I, too, would swing a wrench wildly at anything in sight before scampering away as fast as possible. It also makes Crane surprisingly relatable for a character with so little development. Too much noise only brings more virals running. Your combat stamina meter dictates how many blows you can try landing before having to retreat, and retreat is typically the smarter option in most cases anyway. There’s a scrappy feel to all of Crane’s encounters, even with stronger weapons, that lends an extra sense of dread to fights with any viral.
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In Dying Light, much like Techland's other zombie game, you use everyday objects as weapons: a table leg or an old lead pipe, for example.Īnd, if you’re lucky, you might have some random scraps you can modify it with, but only once you’ve learned how to survive first. Normally, you get guns and scrounge for ammo in these post-apocalyptic adventures. That’s partly thanks to Dying Light’s combat, which is another twist on the survival horror genre that harkens to Dead Island. It’s a quirk I’m happy to accept unquestioningly.
In a twist that can only happen in video games, nights are much shorter than days in Dying Light. Terror reigns when night falls (hence “Dying Light”), when the virals become faster, more vicious, and much harder to kill. Sunlight stupefies most of these virals during the day, but the sheer number of them means you have to think carefully about the route you take. It’s one thing being told you’re the last of us and something else entirely seeing it play out in front of you. There’s a handful of non-infected humans in the apartment building that’s your home base, and nearly 30 virals - Dying Light-speak for zombies - just in the two streets out front. The streets are littered with the shambling undead, and it’s both a clever bit of worldbuilding and vital to Dying Light’s identity.
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Harran is a playground like few others, an urban deathland full of traps, zombies, treasure, zombies, secret safe rooms, and even more zombies. It’s something I hope Dying Light 2 improves on, but for now, the city of Harran is enough to be getting on with. Most of the characters, including Crane, are flat and forgettable. The narrative is standard fare for the genre, and you can see most of its twists long before they happen. Into all this drops, literally, Crane, a double agent trying to infiltrate one such criminal gang before they unleash horrors unspoken on the remaining human population.ĭying Light’s story is not its strong point. Bands of plucky, and often criminal, survivors struggle to push back the hordes, brave scientists try to find a cure, and nefarious organizations want to use that research for their own ends.
Zombies have overrun the world in the not-too-distant future. Dying Light Switch Review: The Dead Rise Again Despite some rough edges and a lackluster story, Dying Light is still, all these years later, one of the most unique and cleverly designed zombie games around. Techland's spin on open-world adventure and survival horror is on Nintendo Switch now, with all the trimmings.
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