Regardless of how that particular thread plays out, I already find Atomic Heart’s narrative focus compelling. “If you need any more proof that the lines between big and mid-budget are blurring, Atomic Heart seems to offer a shining example.” Publisher Focus Interactive admitted that it was initially hesitant to pick it up initially because of that aspect, but the label seems confident in where the final game landed tonally, which is encouraging.
It’s unclear early on if it’s looking to make a commentary about either, or if it’s simply interested in irreverent farce a la Far Cry. It takes some clear jabs at the concept of communism but swings just as hard at capitalism. Off the bat, I’ll stress that it’s impossible to judge Atomic Heart’s political ambitions based on such a small slice. One rogue hack later, everything goes south and the machines turn into murderous monsters hellbent on killing the protagonist, an intelligence agent tasked with finding who’s responsible. After creating a wonder material called polymer, the USSR was transformed into a communist paradise full of intelligent robots that live in harmony with humans. The story takes place in an alternate version of 1955 in which the Soviet Union won World War 2 and become a technological powerhouse. A friendly drone flies to me and hands me a glass of soda, which I sip while watching little slice-of-life vignettes occur next to me.
It’s an idyllic vision of the future, like I’m at a Disney theme park.
This time, I’m riding down a stream on a futuristic paddle boat. My demo begins right at the top of the game, with an introductory sequence reminiscent of Half-Life’s iconic trip around Black Mesa.
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