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Paradise Lost Honest Review

Video games have experienced us infiltrating Nazi bases for decades but Paradise Lost takes a more tempered way than the all-guns blazing action of Wolfenstein or even Sniper Elite. Its underground bunker setting is almost completely desolate in the outset of the narrative, so the closest you'll ever come to getting a rifle is if you're using a gun through filing cabinets for clues to determine just what fate befell its own inhabitants. However while I researched the often troubling depths of Paradise Lost's Swastika-adorned subterranea with a continual sense of morbid fascination, and its frustratingly sparse way of storytelling meant that my emotional investment in the plight of its figures stayed forever stranded on the surface.
Paradise Lost's narrative picks up twenty decades after, when a 12-year-old Polish survivor called Szymon enters one of these bunkers seeking a mysterious man who knew his late mother, and I felt a direct pull to learn exactly who or what was lurking below.
The spooky descent into Paradise Lost's cavernous expanse originally gives the impression that you are in for a certain sort of bunker-bound BioShock, and that feeling is strengthened when Szymon soon strikes a two-way radio connection with Ewa, who plays with an Atlas-style function in assisting Szymon navigate through every area while retaining her true motivations unclear. However there are not any Splicers or Substantial Daddies to fight because you pick through the remains of Paradise Lost's abandoned dystopia, and also for the most part your actions are rather basic and restricted to reading characters listening to audio logs, also pulling levers to power up any dormant mechanics that disturb your path forward.
Outside of your interactions together with Ewa, which can be fairly engaging but normally limited to this intercom microphones you run upon every once in a while, you're effectively left to attempt to piece together the story by scouring each office and hallway for as much information as possible. Undoubtedly the most stimulating approach to consume a little the bunker's backstory is the number of occasions you get access to a archaic E-V-E computer terminal, which supplies you with shadowy box-style records of the very last moments of action in any given area. E-V-E is the AI that controls the bunker's security and agricultural methods, among other things, and it is oddly fascinating to see a crucial moment in this place's history unfold over the terminal display in a flurry of human-tracking heat maps and crisis management likelihood calculations.
Curiously, these memory strings are interactive, giving you control over where troops have been set up during a conflict between the Nazis and members of this Poland Underground Condition, for instance. These choices helped to keep me engaged in the E-V-E interactions plus they really do have slight implications for Szymon's story, but I could never truly understand exactly how I was able to manipulate events which had taken place. I suppose I must have missed that memo, and believe me once I say I read completely every single memo I could put my hands on.

In fact I sought outside and pored over every scrap of information I could see in Paradise Lost, and I still do not feel like I ever knew enough about the people on both sides of its central battle to actually care about its outcome. At one stage Ewa insists that Szymon investigates the cells in which Polish girls were held to get heinous experiments in eugenics, in order to pay respect to their own individual stories. But there's only so much you are able to learn if the sole interactive thing in 1 cell is a used up punch card and yet another has nothing but a half-finished crossword mystery, leaving it hard to connect with their battle.
Paradise Lost fails to take complete advantage of its own gripping assumption and the haunting atmosphere of its surroundings, falling short of this standard set by other first-person narrative experiences released in the last few decades. It is much less detail-rich as Gone Home, the radio-based relationship between its two leads never reaches the identical amount of intimacy as Firewatch, and its own storytelling isn't nearly as interactive or creative as that of What Remains of Edith Finch. I admire the creativity that's gone into realising the design of its underground facility, but that I just wish the lack of story detail and personality advancement within it hadn't left me feeling warmer than a concrete corridor. the impossible quiz
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