Here’s a world in motion, fellow passengers being herded towards uncertain destinations, humanoid guards charging electric batons and forcing people to pick up used soda cans, surveillance drones photographing everyone’s position, gigantic tripods patrolling the streets, desperate tenants – or are they inmates? – hunched in barely furnished apartments, an urban symphony the likes of which experimental silent film directors could have only dreamed about, and all of this while players remain in control of their movements, choosing what to see and for how long. Previous videogame cities tended to be static collections of buildings and non-playable characters waiting to be talked to.
We soon arrive at an old station and emerge into an Eastern European city, which art director Viktor Antonov probably modeled on his hometown of Sofia, Bulgaria. We wake up in a decaying train, aisles littered with trash and crimson seats blackened by overuse.
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