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"You're not just testing and validating and polishing one game," Smektala said, "You're basically polishing a few games that run in parallel at the same time."
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This was, by Smektala's account, the hardest part of development, leading me to understand that beyond the ousted writers and covid obstacles, Techland has simply had its hands full trying to keep all possible stories on their tracks. Where the story does seem to have improved is in its emphasis on player choices and consequences. I do wish the game would go all-in on its fascinating Modern Dark Ages setting and stick to the more serious stuff, but as before, it seems Techland will mix in plenty of off-beat characters who may screw with the overall tone more than I'd personally enjoy. A father/son pair of Italian traders feel especially like caricatures. Similarly, with so many characters to meet, from merchants to major players and everything in between, I've already seen a wide array of performances and characterizations.
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The somewhat muted emotions each character wears on their face is not a new issue to RPGs-Bethesda has been getting by with virtual mannequins for decades-but Dying Light 2 doesn't look like it will break that mold. Based on my time with it so far, I'd say things are more interesting, even if still a bit uneven. While parkour feels like a strength being made stronger, the first game's story wasn't as impressive, so there's arguably more room for growth with Dying Light 2. In Dying Light 2, that signature element seems to be markedly better. The freedom of movement is what set Crane's story apart from not just DayZ or Left 4 Dead, but also things like Max Brooks' World War Z or Romero's Dawn of the Dead. Parkour was, as Smektala told me, the thing that Techland thought it could bring to the crowded zombie genre, even beyond games. Not all of Dying Light 2's monsters are infected. The environments feel like they have many more opportunities for creative parkouring-more ledges to climb the sides of buildings like it's first-person Assassin's Creed, more ways to scale the world like ropes to swing on and winches to fling you upward, and better-spaced objects that promise leaping before looking isn't always going to be fatal like it was before. "When you spend more time with it, you'll find it is very hard to go back to the first game," Smektala said, both speaking from experience and unknowingly echoing my thoughts. The original Dying Light felt great in 2015, and for the most part, still did when I went back to it to refresh my memory a few weeks ago. The mechanics are improved across the board and give the controls a faster, more reliable feeling in my hands. I especially loved how quickly I was able to intuit whether or not I could make any particular jump. He's lighter on his feet and animations are smoother, even from the get-go, and despite me seeing some really tantalizing skills not yet unlocked during my play sessions. Smart changes like faster strafing and back-pedaling, and an always-on sprint ability, make the anti-hero protagonist Aiden Caldwell feel more adept at performing his death-defying feats than Kyle Crane ever was. The first thing I realized when I started to play Dying Light 2 was how fluid the movement felt.
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This was, as Smektala explained it, a tamer region meant to allow players to get to grips with the game's melee combat and parkour moves, and come to understand how to manage crowds of infected and survivors alike. The build I played was about a month old and kicked off in the game's opening region Old Villedor. And this happened to us, I would say half a year ago, when it all started making sense." And you say okay, so this is what you're making. "There's always a point during the production of a game that, at one point, it clicks together. He explained this meant, according to the Polish rapper he was quoting, that the end is in sight. "We're 30 centimeters above the pavement," lead game designer Tymon Smektala told me in between my extended sessions with the sequel. By clicking 'enter', you agree to GameSpot's