Reviews
[Review] ‘Far Cry New Dawn’ Presents a Shallow Interpretation of a Post-Apocalyptic World
In our Far Cry New Dawn review, Bloody Disgusting discovers that the New Dawn rocks, but doesn’t exactly prove to be a new day for post-apocalyptic shooters.
If you’re anything like me, you’ll play the majority of Far Cry New Dawn with Timber, the doggo, by your side.
It’s not that the rest of the roster of Guns for Hire aren’t capable. Pastor Jerome is handy with a shotgun. The Judge, a hooded assassin, is silent in stealth. And Nana, a vulgar old sharpshooter, can pop Highwaymen heads like the balloons she deploys to test your marksmanship skills. But, all of them have a habit of talking. And after any length of time, the characters in New Dawn begin to grate.
One makes a gross crack about her face looking like a scrotum. The slogan for one fledgling entrepreneur’s company is a forced reference to reacharounds. A dad’s heartfelt note to his son quickly devolves into dick jokes. While it gestures to themes of hope and survival, New Dawn just doesn’t take its characters seriously.
The most striking example occurred when I was recruiting a specialist to join my crew. This character is the kidnapped father of the Gun for Hire I happened to be tackling the mission with. When we killed off the Highwaymen who were holding him captive, he thanked me, then—with the dead eyes and wooden delivery I’ve come to expect from the lion’s share of NPCs in open world games—noticed his daughter, who he hadn’t seen in years, and said, “Carmina, what are you doing here? Go tell your mom I’ll be home soon.”
That’s it. That’s all she gets?

At the end of the mission, a cutscene showed the family’s emotional reunion back at Prosperity. Carmina and her mother run and hug him like she’s seeing him for the first time. It’s tearful, played as an attempt to tug at the player’s heartstrings. But, it didn’t work, because the real reunion, for me, at least, was that pathetic throwaway line a few minutes before.
That’s what’s great about Timber. Aside from him being a very happy, very helpful good boy, he does what’s needed in battle. He lets me pet him. He rezzes me when I’m down (and helps me understand those “Who Rescued Who?” bumper stickers). Yes, Timber is the best of Far Cry New Dawn; he’s a cute character (if crassly created to reach the dog lovers in all four demographic quadrants) who doesn’t distract from the solid mechanics on display, and I don’t have to pretend he’s anything more than that.
Honestly, the best thing I can say about Far Cry New Dawn is that those mechanics are, indeed, still solid. Unfortunately, you’ll be hard-pressed to find anything new or great here. If you’ve played a few open-world games, there’s likely nothing in here that you haven’t seen done elsewhere. Not necessarily done better, just done. This is a fine game (I enjoyed the majority of the 25 hours that I spent completing the campaign and about 70 percent of the side quests), but there’s no reason to try to convince you that it’s an important one. Instead, like Uncharted: The Lost Legacy and Dishonored: Death of the Outsider before it, Far Cry New Dawn aims to offer a shorter, polished take on the series’ previous entry.
In that respect it mostly succeeds, though I was surprised—given the story set-up—how closely New Dawn hews to Far Cry 5. Set 17 years after the conclusion of 2018’s entry, the Earth has bounced back from nuclear annihilation in a colorful “superbloom” of lush pink and primary colored flora. After the bombs dropped, the Project at Eden’s Gate—the cultist enemies from 5—retreated to a compound in the north, and do what organizations do in times of crisis: they rebrand.

For years, the renamed New Eden keep to themselves as another group of survivors— the group the player character joins up with in the game’s opening hour— are holed up in a camp called Prosperity, building a new life in the south. They coexist peacefully. And then the Highwaymen, a violent gang led by a pair of blond-dreadlocked black twin sisters, arrive, setting up outposts (as Ubisoft baddies are wont to do), and raiding New Eden and Prosperity. (The twins, Mickey and Lou, don’t have much in the way of motivation, but they do have charisma and their monologues are the best character moments in the game). With an enemy in common, New Eden and Prosperity make peace, squashing the beef that fueled the previous game’s conflict.
While the enemies are new, not much else is. In general, New Dawn mostly just offers up more of what Far Cry 5 did. As noted, Guns for Hire are back, the main players are back, and New Dawn maintains 5’s removal of towers. Instead, you’ll gain access to missions by discovering them in the world; sprinting past them or getting a tip from a journal entry or helpful survivor.
One addition is a base-building mechanic. You’ll spend the crafting materials you find out in the open-world and on Expeditions—basically, outposts meet capture the flag—on upgrades for Prosperity. In contrast to last year’s Red Dead Redemption 2, Prosperity is humorously video game-y, with in-world posters explaining progression and in-world banners labeling each station.
Most significantly, the map is the same, though some areas—like the Peggies’ church—have changed quite a bit. But, the world of Far Cry New Dawn feels far less post-apocalyptic than I had expected. The weapons look rickety—one shotgun is crafted using a boar’s snout for the end of the double-barrel—but don’t expect Far Cry 2-style mechanical jank. They work as well as their military-grade counterparts; they never rust or jam.
There’s one big addition to New Dawn’s armory: the Saw Launcher. This Mad Max-y bit of weaponry does what its name suggests, firing off circular saw blades which slice through soft bits and ricochet of hard bits making for bouncy, chaotic fun. After a while, I mostly stuck to my shotgun and silenced pistol, but the Saw Launcher is a genuinely cool addition.
Iconic Horror Houses Recreated in Far Cry 5
The conceit of the “superbloom,” makes for an unexpectedly lively map. Trees and flowers are everywhere. Lush green grass covers almost every inch of the ground. This is not your father’s post-apocalypse; it’s a bright, Horizon Zero Dawn-style take on life after the end of the world. That game, though, was set hundreds of years after the apocalypse; this one is set close enough that Far Cry 5 antagonist Joseph Seed is still rocking the same man bun. This society doesn’t seem post-apocalyptic; it seems pretty… normal, like the nukes dropping was little more than an inconvenience.
That normalness applies to the violent fauna you’ll encounter during jaunts through the wilderness, as well. It seems like a major missed opportunity that a series known for siccing wild animals on players, didn’t mix any weird mutants into the mix. Buffalo, wolverines, wolves, pronghorns, deer; they all inhabit the world like nothing changed after the Collapse. The apocalypse didn’t wipe out or radically change any familiar species. The mooses have orange antlers and there are some big angry fish swimming around in the rivers, but that’s the extent of it. Essentially, Far Cry New Dawn’s end-of-the-worldness boils down to a fight pit, a Deathrace track and bright pink and yellow cars that jut from the ground like Bumblebee’s tombstone.

Everything still works well. Stealthily taking down outposts is a grand time, and the guns feel punchy and have a satisfying kick. There are some genuinely interesting stories out in the open-world, and recruitment missions are all well-designed and unique. I never felt like I was playing the same mission twice, a major benefit that New Dawn’s shorter length enables.
But, after completing New Dawn, I’m suddenly much more excited for Rage 2. While multiple brightly colored post-apocalyptic shooters dropping around the same time is almost certainly a net negative for Ubisoft and Bethesda, I’m curious to see how the other hot pink, Mad Max-inspired shooter handles its apocalypse. Will it lean into it? Will it feel like things are breaking down around me? Or will it feel like the world is basically the same? Like nothing really changed when it ended?
And, most importantly, will there be a very good dog for me to pet?

Far Cry New Dawn review code for PS4 provided by the publisher.
Far Cry New Dawn is out now on PS4, Xbox One, and PC.
Reviews
‘I Hate Found Footage’ Review: A Clever Puppet Horror Parody That Becomes the Joke
The problem with parodies is that there’s an extremely fine line between precise mockery and simply creating a genuine example of what was being made fun of in the first place. That’s why the best kind of cinematic satire comes from a place of love, as unironic appreciation for the material being parodied means that you’re still left with something fun to watch even when the humor fails.
I was reminded of this while watching I Hate Found Footage, the latest horror comedy by Michael Rock, director of the Tahoe Joe trilogy and founding member of Horror Dadz Productions. This cheekily titled parody has just been released on Found TV as one of the budding streamer’s first exclusive productions, and while I commend the folks at FTV for enlisting a found footage veteran to help popularize their fan-funded platform, the ensuing product might just be a little too accurate for its own good.
Taking inspiration from classic Muppets spoofs as well as a lifetime of experience with some of the best and worst that found footage movies have to offer, I Hate Found Footage may not be the very first comedy to poke fun at the FF genre, but it’s certainly the first one to feature colorful puppets as the protagonists.
In this decidedly meta experience, we follow Eddie Blake and Michael Rock himself as Ollie and Filbert – a duo of talkative hand puppets who embark on a quest to shoot a no-budget found footage movie in the middle of the Nevada wilderness. Unfortunately for the budding filmmakers, their cameras end up picking up much more than they bargained for when their impromptu monster movie accidentally puts them in the path of a masked gang of ritualistic murderers.

What follows is a self-conscious comedy of errors poking fun at all of the most hated and some of the most beloved tropes that the found footage genre has to offer. Ollie and Filbert frequently interrupt their terrifying POV misadventure with jabs at common faux pas like their own inability to stop filming even under risk of death, as well as multiple instances of puppet-based physical humor.
In general, this is far from a bad premise. The kid-friendly puppetry might be a bit jarring during the first few minutes as you get used to seeing this playful duo interact with the gritty real world, but there’s an undeniable charm to the way that these unorthodox characters record ironic versions of the familiar exposition dumps and ominous testimonials that we’re so used to seeing in “serious” found footage flicks.
Unfortunately, Rock is so dedicated to recreating an authentically terrible found footage production that the finished film often feels more like a failed attempt at an earnest project than an enjoyable parody. Sure, the copious amount of jokes and the fact that our leads are played by fluffy masses of felt should indicate that the film isn’t meant to be taken seriously, but pointing out how amateur found footage productions suffer from long stretches of dead air and unnecessary build-up is only funny until the movie becomes the very thing it’s supposed to be criticizing.
I get that having Ollie and Filbert’s ill-advised cinematic endeavor be a laughably bad movie is itself part of the joke, but unlike similar genre parodies in the vein of Ed Wood or even stuff like Sharknado and Velocipastor, which benefit from the fun parts of traditionally “bad” horror filmmaking, I Hate Found Footage has to contend with the fact that poorly-made found footage tends to be more boring than ridiculous.

That’s not to say that there’s no enjoyment to be found here, as I especially appreciate absurdist jokes like when the characters encounter the murdered “corpse” of another hand-puppet, and his full skeleton only consists of a bloodied arm. Or even the ridiculous scene where the duo attempts to simulate a jump scare for their monster movie using embarrassing levels of puppet-on-puppet effects work. But it’s a shame that these elements are shackled to excruciatingly long, though admittedly beautiful, shots of the Nevada setting.
That being said, regardless of certain stilted/unfunny line deliveries and the painfully slow build-up that doesn’t really lead to a horrific finale, Rock is still a skilled enough filmmaker to know that this kind of comedic experience works best in short bursts. That’s why the hour-long runtime comes as a blessing even if it also serves as an example of why the flick would probably have been better off as a short film. As it stands, however, I’d argue that it’s still worth suffering through some of the flick’s cringy moments in order to get to the good stuff.
Ironically enough, I Hate Found Footage will probably only entertain veterans who are already more inclined to forgive the genre’s common pitfalls and recurring tropes. After all, the production was clearly helmed by a team with a deep knowledge of how these movies work and what fans expect to see when they press play on a low-budget POV adventure. While I still think there’s only enough humor and story here to sustain a half-hour-long short, I’d still recommend this feature to die-hard fans who enjoy a healthy dose of silliness alongside their POV scares.
I Hate Found Footage is now streaming on Found TV.

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