Review of Dying Light 2 – a leap too far

Review of Dying Light 2 - a leap too far

Review of Dying Light 2: After a horrible start and a bad ending, Dying Light 2 leaves a nasty taste in your mouth. In spite of its sophisticated parkour system and chunky melee fighting, the game’s story and side stuff are mediocre. Despite the game’s emphasis on choices and their ramifications, there are times when the conclusion feels as hollow as Fallout 3’s famed slideshow ending.

While hunting for his missing sibling Aiden Caldwell, a wanderer, you take on the role of the last survivor of the post-zombie world. Using a variety of parkour moves and melee weapons, you may traverse the city’s streets and rooftops while battling both living and undead foes.

For a while, you may find yourself running into world geometry or racing up walls you weren’t intending to in Dying Light 2’s parkour system, which is available for purchase here unexpectedly. Freerunning can be frustrating at first, but after you get the hang of the mechanics and the flow of the game, those moments of irritation become much less common.

It’s an unbelievable joy when parkour comes together for you. You can barely see where you’re going because the rooftops are so closely spaced, so you have to reach out and grab the ledge with both hands before you can move on to the next step of your run. As the game progresses, you’ll be able to use new tools like a grappling hook and paraglider to keep the platforming exciting. As the story progresses and you enter the city, the height of the buildings increases, making the climbs much more nerve-wracking.

It’s a rewarding experience to fight with your hands. Even though it’s disgusting to watch baddies get knocked back and fall to the ground after being hit with pipes and seeing their heads pop off in slow motion, it’s still fascinating to watch them die in slow motion.

Review of Dying Light 2


However, the enjoyment does not last indefinitely. There isn’t enough variety in melee combat to keep it interesting over time, despite its primary mechanics of running in, striking, and getting out of range before the enemy can react. This game’s human foes fall into three categories: melee grunts, archers, and slow-moving brutes with massive homemade weapons. In each encounter, I immediately get into a pattern of running around the arena, taking out ranged adversaries one by one, then picking off the weaker melee opponents until I reach the big bad at the end. Regardless of how many dozens of hours you decide to spend before the last mission, this process will continue.

Despite the efforts of human foes to spread out and flank you, it is simple to break through their line and gain an advantage. In order to unlock more moves, such as a rapid parry that stuns an enemy and allows you to vault off their back to dropkick someone else, you must wait for an enemy to strike you and pray you get the time right. Rather than wasting time on complicated combinations or dodges, the most effective strategy in most battles is to simply run about and kill your opponents one by one as you go.

For the most part, they are elemental damage boosts that activate automatically after a critical hit or manually after a predetermined number of blows. A weapon’s durability can only be restored through upgrades, thus it’s important to keep your greatest weapons well-maintained. Don’t expect anything as revolutionary as the weapon modding in Fallout, although there are some showy finishers.

Even while MELEE COMBAT’s core is excellent, the game’s lack of variety makes it uninteresting over the long term.

Dying Light 2’s fighting and movement systems are suffering from a lack of variety because of the game’s reliance on repetition. While the world is full of things to do, the vast majority of them are composed of only a few distinct categories of material. To trigger a safe zone on a rooftop, you must climb a windmill, but you’ll have to solve similar leaping problems at a dozen other windmills throughout the game. You may have to sneak through a zombie-infested facility to collect healing and stamina-enhancing supplies, only to repeat the same operation in practically identical facilities for the same benefits later on. The fight to open a metro station fast travel point by beating a bunch of bandits is just like every other combat experience that you’ve ever had.

A large number of the open-world locales are resource gathering points where you can open chests and cabinets in search of extra crafting materials. Refrigerators, cabinets, and chests. Over and over again, you’ll use the same lockpicking minigame from Fallout, Skyrim, and the first Dying Light to open the same refrigerators, chests, and cabinets. Material for crafting goods you rarely use is stashed in a large number of locked refrigerators, chests, and cabinets.

You may construct grenades and Molotov cocktails, although Dying Light 2 isn’t difficult enough to necessitate their use on the basic difficulty setting. For the most part, they are useful for efficiently completing tedious open-world tasks. In most cases, you’ll find buildings full of snoozing zombies, as well as attentive creatures who can wake them all up if they spot you. In principle, you should creep through each room, choking out the alert zombies as you go, before collecting all the goods. Even though the stealth sequence would take longer, it’s much easier to just activate an alarm, draw the opponents into an enclosed space, and then unleash a hail of Molotov cocktails on them.

Attempting to complete these parts in the ‘correct’ manner frequently results in failure due to pathfinding bugs. zombies become caught on walls in places where you cannot safely choke them out. On one occasion, an enemy caught my attention just as I dove behind a table to conceal myself. It dashed over to where I was standing, went up on the table, and then reappeared in the same spot where it had been before. A few more times, I decided to give up on the idea of using stealth.

Even while MELEE COMBAT's core is excellent, the game's lack of variety makes it uninteresting over the long term.

There are a lot of bugs in the game, but this one is the most serious one I’ve encountered. The open-world play revolves around finding and turning on generators to turn on UV lights that protect safe zones from zombies, but when I try to do so for one, the lights don’t turn on, leaving me without a safe zone and, worse, an item I can’t check off my checklist. Binoculars are meant to be able to locate activities all around the world, but finding the precise pixel you need to gaze at in order to activate a map marker is often a search.

Additionally, if I remove a manually-created waypoint marker from my map, a new one emerges in the same place. There are instances when you can’t use the “survival vision” button to see what’s around you because it’s broken. It is fairly uncommon for me to wind up flying out of control when attempting to scale anything, especially those found indoors. My final few hours of playthrough, Aiden’s character model remains in a T-pose in the inventory. Despite Techland’s assurances, the developers haven’t provided any information on what bugs would be fixed in the launch patch.

Dying Light 2 was clearly not prepared for the way I wanted to hate the peacekeepers.

Dying Light 2’s parkour and basic lighting aren’t degraded by any of those nitpicking faults, and that’s OK with me. As a result, it becomes increasingly difficult and frustrating to go through the game’s various challenges.

More varied encounters and arenas to test your parkour and stealth skills, as well as a wider variety of weapon load-outs, are usually found within the plot missions, as opposed to side activities. Despite a few disappointing boss fights, the primary objectives mainly live up to the promise given forth by the game mechanics. Even while the plot missions can get tedious in places, there are enough exciting chase sequences and explosive moments to keep things interesting and even exhilarating at times.

It’s a pity that the story itself is so formulaic. For all its flaws, the original Dying Light had the foresight to keep its narrative to a few short cutscenes between big missions. Everyone has a lot to say in the sequel and owing to dialogue wheels a la Mass Effect, they’re willing to give you considerably more lore than you could possibly want.

There are a TON of things to do in the world, but most of them are made up of a few different types of content.

In several of the storylines, I found myself engaged, and there are lovable characters that are brought to life by outstanding performances from the voice cast, who elevate some rather clunky dialogue. There are a few surprises, but they’re largely predictable and the characters fit into broad tropes. Finally, Dying Light 2 relies heavily on child characters for its huge emotional moments, which is ill-considered as it appears that every youngster here is voiced by an adult actor.

If the game’s premise of choice and consequences ever felt like it paid off, a simple, predictable plot may still be appealing. It is possible to watch your favorite characters take the lead in climactic story moments and critical missions play out differently depending on whose faction you choose to assist.. However, there are just a few instances of this in the story as a whole.

Dying Light 2 could not prepare me for the level of rage I felt for the Peacekeepers in this game. The plot begins with a fight between the Peacekeepers, a militarized police force, and the Survivors, a loosely organized group of criminals, farmers, and everyone in between. The Peacekeepers are an authoritarian police force. I always sided with the Survivors rather than the Peacekeepers. There have been occasions when I’ve had to go up against the law myself. Despite this, the game continued forcing me back into story missions where I worked with Peacekeepers. Even if these connections were in any way problematic, Aiden and the Peacekeepers would always come back together, continually showering each other with respect and adulation despite the fact that I used every opportunity to betray and sabotage their activities.

With the ability to grant water or power facilities to either the Survivors or Peacemakers depending on where you place them, this battle should have an impact on the world’s shape. Aside from a few extra side quests with the faction you choose and progressing up an upgrade tree that places bonus goods in the open world, these options offer no real variety.

Peacekeeper-controlled regions have more firearms and traps, while Survivor-controlled areas gain upgrades like jump pads and ziplines. In the main story, you’ll get no more than a single line of conversation from a Peacekeeper leader referencing your decisions, even if you turn over total control of the city’s essential infrastructure to the Survivors instead.

Rather than an attempt to play out the implications of every decision you’ve made, the climax feels more like a last-minute attempt to fulfill the promises of a specific 2019 gameplay showcase. Although I can’t replay the entire campaign to see what would have happened if I’d made different choices, the ending that I received felt like it was scarcely influenced by my choices throughout the entire game.

Dying Light 2 took me approximately 30 hours to complete, and I only liked about ten of those hours. As I got to the last ten hours, my tolerance for its shortcomings was at an all-time low, and I prayed for the best of luck to anyone attempting the entire 500-hour completionist run. Because I enjoy running around the environment and battling in a variety of ways, it’s irritating that I can’t enjoy both at the same time in the same game. Dying Light 2 has its moments, but they’re the same ones that made the first game so popular in the first place.

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