There are some especially tiny touches in Atomic Heart that smack of a great deal of consideration, like the way there are different reload animations for unspent magazines compared to empty ones – the latter of which are flicked away while the former are grasped by the same hand sliding a fresh one in. That said, there is a distinct feeling of ‘look, don’t touch’ in these places (there’s definitely a lack of destructibility balloons immune to axe swings are probably the worst offenders) but the level of detail overall is strikingly good. There’s even one that looks like Baymax cosplaying as a tank.Ītomic Heart’s outstanding aesthetic also extends to its large range of partially ruined labs, facilities, and transportation hubs – each filled with long, snaking globules of the liquid polymer that powers the advancements of this fantastical 1950s. Its featureless ballerina bots and spindly-legged battle balls are equally memorable – the latter of which are probably best described as scaled-down, Eastern Bloc knock-offs of those things that couldn’t kill Mr.

Its range of robots is particularly strong, from its sleek and sinister moustachioed terminators that charge at us without ever averting their gaze to its pot-bellied parking meters with mouth tubes that make them look like they’re sucking at the drawstring on an invisible jacket. The most remarkable element here is the superb visual design, especially the look of these well-crafted enemies. Certainly the idea of a peaceful utopia torn to pieces thanks to technology turning on its ambitious masters is nothing new, but developer Mundfish has still assembled its vision in a confident and compelling way – and the art team here well and truly understood the assignment. However, it’d be unfair to call Atomic Heart wholly derivative despite such recognisable building blocks.

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