Dying Light was one of the first games featured at the beginning of last year. A title created by Techland that followed the trail of what we had seen with Dead Island but that offered many characteristics to take into account. And the first-person adventure formula, survival, parkour-type plan and the possibility of cooperative play was among the fans.
The plot of Kyle Crane, in addition, offered some interesting plot moments. A year later, the company has decided to throw the house out the window and what had to be a DLC has become an expansion that multiplies the Dying Light experience by two. The Following, to the point, serves: who enjoyed Dying Light and want to delve into a new map almost as generous as the original game;
The plot places us in an area parallel to the one we live in the original game. Although The Following is played with the character that we have improved and equipped with the original title, they are two completely different frames and we can not connect “the two worlds”.
Of course, it is important to have developed Crane before entering El Campo, since from the second mission, without certain equipment is difficult to advance.
In any case, the story begins when the protagonist’s band rescues a man who in the midst of delusions talks about a place where humans are immune to the infection of zombies. We decided to see what is true in that and we moved to a place that seems, indeed, special. Different.
The first thing that surprises us about the new location is the large number of zombies we found populating the stage. The number is very generous and even with an agile and resilient character (our Crane has surpassed The Following after completing the main Dying Light campaign), we have to be careful because there is always someone lurking.
We will arrive at a shelter where we are invited to return where we came from. But then, helping a couple of people (the first recovering a Buggy that will be key in the gameplay of the expansion) will begin to have a relationship with the inhabitants of the area.
And in this way, in a short time, the two concepts that make a difference in this The Submit are presented. The first is the Buggy, one of the few vehicles that still work. We will steal it from a criminal gang and it will become our best friend.
The map of the expansion is huge to walk on foot and there are missions, such as an initial in which we have to close a valve that is at the fifth pine, which require us to reach these points with the vehicle. Because of the terrain, the distance and sometimes even the limited time we have. The control fits perfectly to the controller and has a precise response when braking, turning at the last moment and so on.
The buggy is the key to everything. With him we transport ourselves, with him we destroy enemies by ramming them, leaving traps that we left on foot or calling the attention of zombie hives. And with him we have to survive. If we are crashing
with zombies as if we were in a Carmageddon we will see how we damage some part of the vehicle and we will have serious problems. In the same way that we have to loot bodies, chests and buildings to get resources to create our own equipment, this time it will play with abandoned vehicles. Screws, shock absorbers … everything that can be used to repair battered car parts.
As we move forward we will equip new items (including flamethrowers) that will make the Buggy more resistant and useful, as well as being able to make cosmetic changes.
One of the most powerful mechanics of the game is the management of the Buggy both for its durability and for the gasoline it consumes.
Here there are no surplus weapons or ammunition, so we are not left over with fuel either. When you are with the indicator below minimum, you stop before two vehicles and see that you can not take gasoline from them you realize that it is better to prevent rather
than cure when we start a mission. It is as if many of the mechanics that Dying Light had had dumped in the Buggy, resulting in a different experience than the original game and with a tension and rhythm many times brilliant.
