Similarly, the Typhon aliens in Prey are part of a larger ecosystem, and you're basically at the bottom of the food chain. Rapture's Splicers are like deranged, deformed drug addicts who will kill you on sight for sport, but even they live in fear of the hulking Big Daddies. The worm-like aliens aboard the Von Braun start out as disgusting, mostly harmless grubs, but can take over human hosts to become mutated Hybrids that'll hunt you down. The twisted denizens of Rapture and the Von Braun are a huge part of what made those settings so memorable (and traumatic in the best way possible). That latter bit has no purpose in-game, obviously - but it's a brilliant explanation for why such a Neuromod would exist in a believable world. Take the Toughness Neuromod, which boosts your health total and increases your lifespan by 25 years. Even the tooltips of the Neuromod upgrades have ingenious canonical explanations. Audio logs, a conventional storytelling method inherent to this brand of FPS, give you an optional way to dig deeper into these virtual lives without demanding that you listen to all - or any - of them to make progress.Įvery bit of Prey's world is made with purpose, from the eye-catching art deco posters adorning the station, to the decorative plants in some offices that double as crafting materials. The many computers you'll find around the Talos 1 are all tied to someone's personal account, with passwords that need cracking and emails you can peruse for hints or bits of backstory. Instead of abstract game worlds where anything goes, their settings feel lived-in, as if every object or piece of furniture had a place in someone's daily routine. BioShock, System Shock, and Prey all pull you in with their stunning sense of atmosphere.
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