I didn’t like how Far Cry 5 tied its skills to different challenges and play styles. The leveling system is more akin to the one in Far Cry 3 and 4, with easy ways to earn skill points all over the map and lots of different overlapping options for upgrading. Like other modern Ubisoft games (Assassin’s Creed Odyssey, The Division 2), every action you take in the world feels like it has more of a purpose here since it almost always contributes to improving your ability set. New Dawn brings light base building into the Far Cry series for the first time, and it smartly ties every other mechanic in the game back into the progression of either your character or your base. Each of these side characters will stick in your memory just as much as the villains do, and many of the side missions revolve around doing tasks for people to recruit them to your upgradeable homestead. The radio-yelling solution is a little more graceful than Far Cry 5’s strange “we kidnap you and bring you to the villain” strategy it deployed at regular intervals, but the villains are still reduced to the background a little too much in this game that’s overcrowded with characters for being set after the apocalypse. I admire the determination to stick with the first person perspective at all times, but a willingness to cut away would allow for much greater storytelling potential.
Ubisoft continually creates fascinating antagonists for this franchise, but then struggles with how to actually bring you to their location so you can see them. This is a problem that Far Cry has always struggled with, and it’s a shame to see New Dawn’s interesting twin sister villains almost wasted. In grand bombastic Far Cry style you’re immediately introduced to the antagonists…who are then largely relegated to yelling at you over the radio for the rest of the game. You’re thrown into a colorful post-apocalyptic world that follows on from the shock ending of Far Cry 5. Far Cry New Dawn casts you as “The Captain,” a voiceless protagonist with an appearance of your choosing.
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