It's winter, 1980. Szymon, a boy raised in a post-apocalyptic wasteland, finds an abandoned Nazi bunker. Will he find what he’s looking for? Play Paradise Lost and explore an underground world, where Slavic mythology mixes with retrofuturistic technology.
Discover the last story on Earth.
For those looking for a very good storyline set in the gorgeous underbelly of a retro-futuristic bunker, it'll be hard to find a modern title that beats Paradise Lost. The closest comparison for both story and setting would be the Bioshock series. Despite not having weapons or intense moments of action, Paradise Lost manages to deliver a mind-bending story that won't soon be forgotten.
Paradise Lost relies heavily on exploration and immersion as players make their way through some fantastically designed environments. Sadly, some issues with voice acting and brightness setting can take easily take you out of that experience. Still, I was intrigued to explore this war-torn world, even though some moments of the narrative can come off as overly ambitious.
Dripping with atmosphere, the sights and sounds of a lost end-of-the-world Nazi installation make up for a lack of interaction in Paradise Lost.
Paradise Lost is difficult to evaluate within the classic canons of judgment. The absence of a real playful component and the presence of a truly problematic technical level compromise the innumerable possibilities.
Paradise Lost surprises with the strength of its settings, but loses when it comes to telling a story.
It is easy on the eyes, but in this mysterious subterranean world there is only boring storytelling and sluggish button pushing.
Paradise Lost fails to take full advantage of its gripping premise and the haunting atmosphere of its setting, falling short of the standard set by other first-person narrative experiences released in recent years. It’s not as detail-rich as Gone Home, the radio-based relationship between its two leads never reaches the same level of intimacy as Firewatch, and its storytelling isn’t nearly as inventive or interactive as that of What Remains of Edith Finch. I admire the imagination that’s gone into realising the architecture of its underground facility, but I just wish the scarcity of story detail and character development within it hadn’t left me feeling colder than a concrete corridor.
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