Initially, it seemed unfair that Bloober Team was given control of Silent Hill, as they had spent nearly a decade producing horror games that were often criticized for their poor quality. However, their thoughtful remake of Silent Hill 2 demonstrated a significant improvement and a respectful reinterpretation of the original’s eerie atmosphere and complex narrative. Now, with Cronos: The New Dawn, we get to see if Bloober can compete with the genre’s top-tier teams. Despite their newfound experience, Cronos unfortunately shares many of the same problems that have been present in Bloober’s previous games.
Cronos, as opposed to being primarily a horror-infused walking simulator, is essentially a third-person shooter reminiscent of Dead Space and Resident Evil 4. However, it leans more towards the former due to its armored protagonists. Contrasting earlier games where you had to be cautious in searching for currency and ammo, this game makes inventory management exciting and adds a layer of stress that was missing before. Directly rushing towards the goal without tactical depth can be monotonous and devoid of tension, and Cronos rectifies this issue by ensuring that the mechanics offer an immersive fear experience, something that Bloober struggled with in their previous works.
Rating: 2/5
| Pros | Cons |
| Moody, synthy soundtrack. | Horribly tuned combat. |
| Distinct lack of tension and scares. | |
| Terribly paced story and dialogue. | |
| Cynically explored themes. |
Cronos‘ Combat Lacks the Deft Touch of Other Horror Games
The game’s shift towards a more action-oriented style may seem like an advancement over tedious walking, but in essence, it remains largely theoretical. For instance, the gunplay is incredibly frustrating due to numerous issues. Guns can either fire normally or be charged for additional force, yet only the latter appears to inflict any substantial damage. The slime-like creatures from Cronos, called Orphans, are particularly problematic. They have an alarming ability to withstand hits, leading to numerous cheap shots, and they hardly react unless hit with a fully powered pellet to the head or chest. Contrary to expectations, building up power for each shot fails to generate tension; instead, it feels more like a chore. Enemies that soak up bullets disempower players by making them feel ineffective.
In action horror shooters such as Cronos, the feeling of being disempowered isn’t necessarily central to the genre’s appeal. Instead, this subgenre thrives on overpowering players, not leaving them feeling helpless. For example, the intense village shootout in Resident Evil 4 exemplifies this concept. Ammunition distribution plays a significant role in this gaming experience, and Cronos struggles with this aspect. Often, dead Orphans or ammo boxes won’t provide any ammo when it’s desperately needed, even during boss battles and intense firefights. The excitement lies in the constant tension, and games like Dead Space, The Last of Us, and Resident Evil 4 skillfully maintain this tension by ensuring ammo drops are timely and strategic, keeping players on the edge when played on most difficulties. Unfortunately, Cronos lacks this finesse, making ammunition shortages a significant inconvenience and pulling players out of the immersive, thrilling experience.
In this game, the scarcity of artificial ammunition is partly a result, serving as both a consequence of the squishy enemies and the absence of viable alternatives to conventional firearms. Melee attacks are sluggish and essentially ineffective, while there are no other dependable methods for killing enemies without shooting bullets or grenades. The game’s flamethrower, which has limited uses and doesn’t automatically recharge, misses its potential due to these design flaws that significantly reduce its effectiveness. Melee weapons and telekinetic gadgets in other games are not just for variety; they are crucial for maintaining combat balance by making a low ammo count less fatal.
Cronos Isn’t Scary (and That’s a Big Problem)
The fighting in Cronos is not only slow and dull, but also fails to establish a unique identity. The enemy fusion mechanism, intended to set Cronos apart, unfortunately never fully materializes. Occasionally, grunts can gain extra abilities like armor or acid-spraying from nearby dead bodies, but this is rare and further emphasizes the game’s other flaws. Enemies rarely fuse together, which makes the scarcity of flamethrower fuel to burn corpses even more noticeable. And when they do merge, it’s not certain there will be enough ammo to handle the newly created deadlier hybrid. Cronos never really explores or innovates this fusion mechanic, which keeps gameplay predictable and unengaging. It’s a promising concept in theory, but the execution is limited and underdeveloped, leading to a disappointing overall experience.
Cronos lacks the necessary terrifying elements to compensate for its disappointing action sequences. The jump scares are largely predictable, consisting of full-screen flashes accompanied by loud noises or conventional “monster breaks through door” events (which oddly penalize non-intuitive players if they’re even nearby). These occurrences coincide with less impactful scenes where the player is abruptly transported into a room filled with enemies before being swiftly returned, with objects mysteriously moving or falling as if they’re under some sort of control. The overall experience feels hackneyed, and there seems to be little innovation in either surprising players or making them fear every corridor. There exists one type of adversary that clings to walls and requires meticulous inspection of each surface, instilling a degree of apprehension; however, this enemy is overused and hard to locate due to its poorly balanced audio cues.
Many of the walls smeared with viscera and filled with writhing, un-living creatures contribute significantly to the distinctive style found in Cronos. The blend of bulky technology with an endless sea of fused flesh may not be entirely original, but it is skillfully executed here to produce striking landscapes and hardware textures that are reminiscent of the 1980s. The soundtrack enhances this nostalgic atmosphere by incorporating synth tunes that are both eerie and reassuring, a balance exemplified by its catchy save room track.
Cronos‘ Cynical Narrative Veers off the Rails
The aesthetics in Cronos may not be particularly exceptional, but its world-building and storytelling are substantial, as suggested by the overabundance of familiar blood graffiti scenes that might seem weak. The game’s grounding in 1980s Soviet-era Poland provides a robust historical context to explore, hinting at plans to delve into the political themes prevalent during that time. With crowds depicted as amalgamated masses and the faltering rule of an authoritarian regime, there is ample opportunity to craft thought-provoking sci-fi commentary on individualism versus collectivism.
The narrative tends to take a troubling turn by suggesting that collaboration leads to further damage, as demonstrated through its critical stance towards quarantines, grassroots initiatives, and organized religion. When rampant worker exploitation and the excesses of a few are causing unprecedented levels of inequality, isolation is causing mental distress, and self-reliance is eroding essential institutions and fostering moral decline, it’s alarming to repeatedly portray efforts towards unity as inherently dangerous. Moreover, this narrative often lacks depth in its analysis of these issues and fails to provide any alternative viewpoint, instead opting for a simplistic, cynical outlook.
The late developments in the storyline of Cronos seem random and confusing, overshadowing other plotlines. Instead of concluding with a satisfying resolution, the final portion focuses on an unrelated storyline that creates more confusion about its initial objectives. While there may be brighter endings or clearer conclusions in the other versions, Cronos is too lengthy and lacks the appeal to replay, despite offering New Game Plus. The central mystery is presented so gradually that it hinders any narrative drive, making it a tedious experience even on the first playthrough, which diminishes the desire for another run. Unfortunately, the characters in Cronos are dull and speak in a monotonous manner, suggesting they too are uninterested in the slow pace of events.
The New Dawn doesn’t mark a fresh start for Bloober Team, but rather reiterates their familiar flaws.
A review copy for PS5 was provided by the publisher for the purpose of this review.
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2025-09-03 17:25