It's a key factor in making this world look as believable as it is, and the results are surprisingly close to its real-life counterpart. Right away, lighting is one of the game's most striking features. Fortunately, holding the camera steady means these effects settle down, and some impressive details come into focus. In fact, you can see the algorithm change just as you start to move, as if flicking an on-off switch to the game's overall clarity. With motion blur added too, even gentle nudges to the camera really soften the image as the temporal AA engages. A pass of temporal AA helps reduce flickering on trees here - we suspect an iteration of the excellent, refined version of SMAA T1x found in Ryse may well be present here.īut the end results are perhaps less crisp than we'd expect from a full 1080p title. The sprawl of valleys, trees and provincial houses are sharp from a distance, while post-process anti-aliasing removes a lot of the pixel crawl you'd usually see while panning the camera. The game renders at a native 1080p, giving the countryside setting a real chance to shine. But with such a determined drive towards photo-realism, has its frame-rate been overlooked? Developer The Chinese Room uses the engine's superb lighting and post effects to ramp up the atmosphere. It's an absolutely gorgeous PlayStation 4 title that puts its bucolic visuals front and centre - where CryEngine is tasked to render a picturesque Shropshire village.
From its opening shot, Everybody's Gone to the Rapture shows precisely how its three-year development was spent.
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