Like STALKER, it conjures a place, a real place, but unlike STALKER it is designed to make us admire it without regular distraction slowly, increasingly affectionately. It is a journey above all else, but a filmic one, with beats and setpieces.ģ5MM is ugly-beautiful I don't mean graphically ugly, but in terms of the stark Soviet-era architecture, the grey weather and the lingering menace. It is deeply, determinedly unpredictable. It even has an optional jigsaw mini-game. It has an awful quick-time event fistfight. The game's nature changes sharply on several occasions: it is a walking simulator, it is a horror game, it is a shooter, it has gentle puzzles. The companion rarely speaks when he does it is with a short directive to aid the pair's survival or quiet reflection about their existence. There is a companion NPC by the player's side for the majority of the game, but somehow it feels solitary nonetheless. It is restrained about light and colour, but what starts dour steadily blossoms into eerie beauty. It is more interested in questions of humanity than it is questions of science-fiction. Sometimes it is a train ride through a post-disaster Russian wilderness. It is a journey through a post-disaster Russian wilderness, in search of life and hope, in an attempt to survive. It is tempting to call it Everybody's Gone To The Rapture meets Russian post-apocalyptic fiction, but it is not a walking simulator: it has action and horror and much more besides. 35MM is a less fantastical, more sedate STALKER.
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