There is a moment in Dying Light: The Beast where you climb to the top of a ruined hotel tower in the middle of Castor Woods. The sun is setting, the clouds are bleeding gold across the horizon, and the wind carries the distant sound of infected roaming below. You catch your breath, glance across the vast sprawl of rooftops and woodland, and then the score hits. It reminded me of the fantastic score in 28 Days Later and how it really helped elevate the loneliness. That’s when I knew that this was going to be something truly special.
The most significant point of the whole game here is the return of Kyle Crane. After more than a decade in limbo, written off as gone or forgotten, his sudden reappearance is not just fan service. It’s the foundation of the whole game. This isn’t the same Crane you remember from Harran. He is back, but after years of experimentation, he is angry and looking to taste sweet revenge.
His anger isn’t just some back story to place him in the game;... Read more