I loved “Dead Island”. It was far from perfect, but the way the game got breathed gave it to life and grow on you. In addition, the game encountered many of the characteristics we associate with the film genre in particular. It was basically about survival – a point it shone on while it was possible to create interesting game situations. In “Dead Island: Riptide”, Techland has not taken over some of the things that did not work with the predecessor. This is more or less the same game – from the tools you use to wade you through the tropical island landscape, to the delivery jobs and assembly line you have to undergo. Dead on arrival In many ways, it is the same raw and untouched quality from the previous game that works here too. Anekdotes from the “Dead Island” universe are never ever colored or romantic in any way – only gray, grotesque stories of when you got your neck torn out because you were careless and did not take precautions until you got loose.

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The environment is not infertile just for population and hope, but also from the helping hand of the developers. You only have to thank yourself here. Kill or be killed. First man in the ground gets his skull broken. You take the chances you get, no matter how cheap it may be afterwards, or how insporting and unethical it can be perceived.

Here’s nobody holding back, so of course you can not do it either. That’s why I really do not care so much about how unbearably boring all your missions and tasks are. Developers do a decent job of communicating that this is more about the journey than the target – the same principle that applies to “DayZ”.

Just plotting a course through the wilderness is the basis for unique and exciting experiences. It does not really matter if you drive the island around after fuel killing, exploring dark bunkers from World War II, collecting painkillers, or just kidding the living dead.

Dead in the water As such, I’ve learned to hate many of the systems that roll around the kernel of “Riptide” to control the game in some predetermined direction. The strength here is after all in the freedom you have to choose and how improvisational you can get in and out of situations. Techland thus traverses the Far Cry 3 case by systematizing a little too many variables and values that do not need to be systematized.

The game represents an open, chaotic world so why not let it talk for itself? There are nevertheless some fun elements that support this nature. One example is the unpredictable behavior of the migrant cadres. Not even after completing two games in the series, I can tell you with a hundred percent safety what makes them go around. Every time I try, the game manages to disprove me. Another example is how the weapons you find plugged right into the core of survival and spontaneity.

Did you find an ax? Crush it into the chest of the dead that comes slanting down the hilltop. Crush skull to number two with a baseball club. Tom for weapons? Pull the ax out of the chest on the first leg and throw it in the face at number three coming by the beach. Dead Last You have, like a grotesque, wonderful freedom to choose methods and techniques here, anything else to further develop your character within various competencies almost undermines.

They are not very exciting to develop after either. I mean who really cares about a couple of extra percent with the chance of a critical hit with a shovel, or whether you find ten or twenty gun shots in the ammunition packages? All of this is so incredibly little interesting in the big picture. In addition, the game makes a decent job of introducing consequences to your game. If I’m going to pull it a bit far, I’d almost say saying nothing is ever at stake in “Riptide”. Punishment is not really in the vocabulary, since a timely death to your part can be a kind of blessing in the way you can randomly wake up at a loading point in front of you as a back. Here they could easily have taken a page from the book to the “Souls” series, which has done this to punish the player for a sadistic science ™.