The paradox with the Crysis Remastered Trilogy is that the series gets better as it goes on, but jumping in at Crysis 3 is the least rewarding way to play it. Considering the atrocious story of the first game, it’s a miracle. Both characters feel fleshed out: Prophet struggles with his lack of humanity, while Psycho seems genuinely disturbed at his own vulnerability. He’s the world’s last nanosuit soldier, arousing suspicions among allies and jealousy from Psycho, his former comrade from the first game who was brutally “skinned” of his own nanosuit. This time the protagonist is Prophet, the series mainstay with a great foundation to explore some interesting themes. Intelligently balancing the first two games by setting the title in an overgrown, post-apocalyptic New York two decades after Crysis 2, it feels a lot more lonely. The third game is when Crytek’s execution matches its ideas. Hans Zimmer even helped compose the main theme.
The story takes an interesting turn at the end, even if gameplay-wise the final level is an anti-climax, and the writing is still pretty awful (“I’m just a geeky conspiracy theorist”). Crucially, though, you become temporarily uncloaked when stabbing, so you need to time attacks correctly to avoid detection.Ĭrysis 2 ultimately benefits from increased ambition and a willingness to get a little weird, even if the ability isn’t quite there.
Stealth is improved by allowing new protagonist Alcatraz to tag enemies with his binoculars and execute stealth kills. Though the 2011 sequel is more linear, swapping tropical islands for a New York City crumbling under Ceph invasion and martial law, it feels more expansive by opening up the player’s tactical toolkit. Which is why Crysis 2 seems like an almost different prospect entirely: it feels as if more thought was put into every area.
Strip it to its bare parts and Crysis seems like a tech demo without any developed ideas. Everything from the tropical setting to cinematic black bars separating missions seems designed to jog memories of the first Halo. The first game’s biggest curse is it spends its first few hours reminding you of a far better game. At the halfway mark, things take an interesting and weird turn, with a genuinely fascinating zero-gravity mission set inside a trippy Ceph ship before the game funnels you into a final mission of corridor shooting and disorienting boss fights by way of a helicopter pilot section. Crysis doesn’t really come into its own until about four missions in, when the stifling forest gives way to wide-open bases to tackle in signature sandbox style.
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