Canine creatures with glowing tentacles, walking trees that throw poison, and giant bats that spit deadly lasers – it doesn’t take long before we bite the dust for the first time. The fauna on Atropos is more than just hostile and will immediately attack. But there is much more behind this quite typical survival scenario. Your spaceship “Helios” is destroyed and there is no way to escape or to call for help. Complications arise on approach to land and she crashes onto the planet’s surface. In Returnal, we take on the role of Selene Vassos, an American astronaut of Greek descent who is independently investigating a mysterious signal on the planet Fischer-265-I (aka “Atropos”). To do this, they brought in narrative designer Greg Louden, an expert who was previously responsible for the dense atmosphere and interwoven stories of Control and Quantum Break at Remedy. On the contrary, because for the first time in the arcade-heavy history of developer studio Housemarque, the story also plays a major role. Nightmarish story in spaceīut it shouldn’t sound as if Returnal has nothing to offer apart from the demanding action. Housemarque even goes a step further by incorporating a number of surreal and chilling PT-esque first-person segments where Selene must explore her memories and nightmares. Selene is able to find logs left by her former selves, which slowly starts to peel back the layers of Returnal’s central questions. Of course, this all serves to contextualize the fact that this is a roguelike and built on the idea of repeated runs through the same environments, but it’s also a clever storytelling device. As she emerges from her ship and tries to locate the origin of a mysterious signal, things start to get very weird and time-loopy very quickly. Returnal tells the story of Selene Vassos after she crash-lands on an alien planet called Atropos.
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