Ever since the Far Cry series really hit its mainstream stride with 2012’s third installment of the franchise, it has been hard to imagine the FPS landscape without its titanic presence looming large over the entire genre. With their mix of finely-honed mechanics, breathtaking landscapes, subtle social commentary, and some of the most noteworthy villains in gaming history, the Far Cry games have set the tone and direction of open-world shooter game design for much of the last decade. New Dawn certainly looks to be on trend, as it joins the likes of Rage 2, The Division 2, and Days Gone in painting an entirely new picture of the post-apocalypse; one that I will be examining more closely in an upcoming article.
In the same vein as Blood Dragon and Primal before it, Far Cry New Dawn is the latest standalone expansion of the series’ roster of titles. The hyper-stylized retro-futurist and consciously naturalistic aesthetics of Blood Dragon and Primal respectively, have been blended into one when it comes to the dubstep-infused visuals of New Dawn. It’s a fresh, bold choice of color scheme and style that contrasts starkly to the realism of the environments of Hope County in Far Cry 5.
After the first screenshots and gameplay footage were released to the world, I’ll admit that I was uncertain as to whether or not the flamboyant color scheme would be appropriate for a post-apocalyptic setting. Having played the game though I can safely say that my initial doubts were blown away on the winds that stir vast fields of vibrant flowers, which dominate the landscape, just as surely as the old world was scoured clean by the atomic fires of Joseph Seed’s prophesied Collapse. The rest of the planet may have been reduced to rubble and ash by waves of nuclear fire, but there’s something almost disarmingly Edenic about the way that Hope County weathered the storm to end all storms.
Where other companies might have elected for a more gritty take on life in a post-atomic horror, for example, 4A Games and their Metro series, Ubisoft Montreal opted for a more vivid vision of the end of the world. According to lead artist Isaac Papismado, the team wanted to avoid presenting players with a stereotypical conceptualization of the post-apocalypse. The result is a charmingly beautiful gameworld that subverts expectations across the board.
The natural landscape is enhanced rather than diminished by the remains of human civilization. The repurposed buildings, either inhabited by peaceful settlers or murderous bandits, with their haphazard reconstruction provide suitably ruinous set dressing whilst at the same time functioning as the perfect platforms for engaging gameplay. The combination of borderline excessive natural beauty and crude human habitats makes for a delightful backdrop to the run-and-gun gameplay loop that we’ve all come to know and love.
The most notable settlement is, of course, Prosperity, your home base. As you progress through the game you can acquire resources to improve it, expanding and upgrading the capabilities of your impromptu home. In and of itself it isn’t anything particularly remarkable, but what makes it truly special is that it’s exactly like the kind of home that you can imagine players who grew up playing this kind of game building for themselves at the end of the world.
Its contents include all the creature comforts that a gamer could want, and the layout means that they’re all within a few steps of each other. It’s a compact, efficient hub from which to gradually expand your influence over the remnants of Hope County, and going back there always has that warm feeling of coming home.
When it comes to the gameplay there isn’t really much to say about Far Cry: New Dawn. If you’ve played any of the recent Far Cry games then you’ll know exactly how it functions. That’s by no means a bad thing though. Part of what makes the series so successful is the accessibility and familiarity of its gameplay. After a long hiatus, coming back to Far Cry felt like slipping into an old pair of studded-leather chaps and a spike-shouldered denim vest (post-apocalyptic threads of choice, naturally).
Being able to instantly recall every single control means that there’s no barrier between the player and the game, which means that you’re able to focus entirely on what’s going on in front of you, rather than what your hands are doing with the controller. Interactions with the game world become instinctive to the point of being muscle memory. From gunplay to menu navigation, crafting to world traversal, talking to NPCs and vehicle control, everything about the game plays wonderfully. The fact that all the attendant systems, such as crafting and guns for hire, function in a “no fuss, no muss” manner means that the game just works. It’s never more complicated than it needs to be, and player progress feels completely organic as a direct consequence. It may not be original or unique, but it’s a testament to great game design.
One of the issues I raised in my review of Far Cry 5 was that the world often felt too busy for its own good. There was so much going on that it felt as if the game was never willing to let you have even a moment’s peace and quiet to just take everything in. The same can still be said of New Dawn but, oddly enough, it’s more of a positive point this time around rather than a negative.
No matter which direction you run in or where you choose to go, there is always something going on which makes events feel like they’re happening completely independent of your presence. Wandering groups of bandits will engage in firefights, wild animals roam the hills and forests, and NPCs with missions and snippets of lore will emerge seemingly at random. This makes it so that, regardless of what you decide to do, there is always relevant and meaningful content to engage with, whether it contributes to the main story or not.
In terms of story, New Dawn could have done better but it features enough set-piece moments and carryovers from Far Cry 5 to remain entertaining to the last. Mickey and Lou, the twin leaders of the bandit group tormenting Hope County, never manage to achieve the same manic charm of Vaas, the twisted despotic allure of Pagan Min, or the terrifying insightfulness of Joseph Seed, but they serve their purpose well enough to maintain a consistent level of threat.
As I said in my recent review of Rage 2, it’s a shame that games of this style and genre are consistently let down by weak and short narratives. However, it’s such a consistent issue with almost all games like this that I’m beginning to wonder if it’s a problem at all and not just the nature of the beast. Perhaps what’s more important is that the games remain consistently great to play rather than offering up in-depth and enthralling stories. Their narrative shortcomings, although glaring, can often be overlooked when you focus on how you’re doing what you’re doing in the game instead of why you’re doing it. Gamers and the industry itself would be poorly served if all games were alike in that regard. Sometimes it’s better a game, or series of games, remains true to the core of its design rather than attempt to ape the constituent elements of other genres.
Far Cry: New Dawn may not be the best game in the series, but it’s far from the worst either. The sheer unexpected nature of Blood Dragon meant that it still stands out as the best among the expansions. Primal, with its unique pre-historic setting and low-tech approach to combat, remains something of an oddity. But New Dawn is without a doubt the DLC that Far Cry 5 deserved. Although Dead Living Zombies, Hours of Darkness, and Lost on Mars were interesting in their own right, none of them really should have been released individually. They should either have been self-contained game modes, storylines in the base game itself, or set aside entirely so that Ubisoft had the time and resources to make New Dawn bigger and better than the previous two actual expansions of the third and fourth games. As it stands, however, New Dawn is an intriguing entry in the series and more than a decent game in its own right.