I’ve played around four hours of soviet-punk FPS Atomic Heart, which took me from the story’s opening moments to plenty of the game’s earliest bits. The final hour or so was split into two parts, thanks to a lovely dev who time-skipped me forwards and into the game’s open world, before warping me through a gate and into an early boss’s lair. There was a lot to take in, from robo-gloves, to sex-dom vending machines, to grannies with bazookas.
I went in with expectations that it might be a little like BioShock, all steely and serious in its delivery of some vaguely philosophical truth. But I emerged with a totally different impression. Far from polished seriousness, Atomic Heart seems a little disjointed in its ambition, with a main character who almost immediately kills any atmosphere when he opens his mouth.