I time-travelled to save the world in Cronos: The New Dawn and it felt like going back two decades to play Dead Space again

A few hours into Cronos: The New Dawn, I saw it. A corpse slumped against the wall, a message scrawled in blood above him: “Don’t let them merge”. If it wasn’t already clear that the latest survival horror game from Bloober Team was drawing from some of the genre's greats, that warning, a nod to “cut off their limbs” seen in equally foreboding lines of jagged crimson in Dead Space, hammered the point home as subtly as a boot stomp to the skull.

A feeling of déjà vu was a running theme in my time playing through Cronos. Here’s the main character, gun hoisted high in Leon S. Kennedy’s iconic pose from Resident Evil 4. Here are my limited crafting resources straight out of The Last of Us, ones I must choose to make either ammo or health items. Here are my gravity boots, pinched from Isaac Clarke’s locker on the USG Ishimura.

It’s perfectly fine to be influenced by other works, especially when they are as iconic and genre-defining as the ones I’ve listed above. But when it just feels like you’re retreading the same path with less confidence and not bringing enough new ideas, what’s really the point of it all?

Following in their footsteps

Now, that opening may read like I came away massively disappointed by Cronos: The New Dawn. In some aspects, I certainly did. It is painfully derivative in many areas, to the point where it made me question if anything has changed in sci-fi survival horror games in the last 20 years.

But, unsurprisingly, given its influences, it’s also a game that plays well. Combat is tense, shooting is solid, resource management is challenging, exploration is unsettling, and the environments drip with atmosphere. And there are kernels of ideas that, if only they were more fully realised or executed better, could have elevated the game beyond a decent – if standard – survival horror.

Let’s start with the premise: you play as the Traveler, an undefined being encased in a cross between a spacesuit and a diving suit. The game starts as you're activated by a mysterious organisation known as The Collective and told to travel through time to extract important survivors after an apocalyptic infection dubbed the ‘Change’ turns most people on Earth into grotesque and amalgamated monstrosities.

The nexus point of the disaster is Poland in the 1980s, which at least makes for a unique setting that’s far from the spaceships and abandoned mining planets we usually find ourselves stomping around. There’s an inventiveness to the world design, too, which not only sees the infestation overrun dilapidated buildings, roads, and subways with a gloopy and pulsating biomass, but also fractures entire structures to create floating, twisted, and mind-bending new forms.

Add to that violent sandstorms and heavy snowfall, and safe to say, it’s not a pleasant stroll. I had to seriously pluck up some courage to carefully inch forward in many locations, especially towards the latter half of the game, when everything is so consumed by the effects of the infection and dotted with poisonous pustules that you feel suffocated by it – even if this trap is overplayed a dozen too many times.

Skin-crawling

Visually, it is disgusting (in all the right ways), but huge credit has to go to the audio. It masterfully ramps up that oppressive and stomach-churning atmosphere with all sorts of sloshing and wheezing and bubbling that gives a terrifying sense of life to the coagulated mass that surrounds you. One of the best gaming headsets is recommended.

If Cronos was all just trudging through fleshy corridors, then Bloober Team would have smashed it. Unfortunately, other parts of the game don’t excel in the same way and are merely fine or disappointing in comparison.

Combat is one. The gimmick here is that dead enemies remain on the ground and can be assimilated by other creatures to become larger and stronger foes – hence the bloody message of “don’t let them merge”. Fortunately, you come equipped with a torch. Nope, it’s not a bright light, but a burst of flames that can incinerate corpses and stop this merging from taking place.

That leads to the main flow of combat. Take down targets with your weapons, then prevent any survivors from merging by setting the bodies ablaze. It’s a setup that can create some tense encounters – ones where you’re busy dealing with one target, only to hear the awful sounds of two bodies smushing together in the distance (shoutout to the audio design again), and knowing there’ll be an even greater threat if you don’t introduce them to the cleansing flames immediately.

The problem is that I could count on one hand the number of times I felt seriously threatened by the risk of enemies merging. Too many encounters had too few enemies, were in too small spaces, or were littered with too many (respawning) explosive barrels, that I could comfortably handle the situation. It was only towards the end of the game when I felt overwhelmed in some encounters, needing to more strategically pick my targets, hurriedly craft ammo on the fly, and regularly reposition to burn dead enemies so they couldn’t merge.

Burn, baby, burn

It isn’t a disaster, just a shame that Cronos doesn’t really make the most of its main idea. Instead, the overwhelming feeling I had was that I was just playing Dead Space again, swapping between the limited ammo in my pistol, shotgun, and rifle to blast away everything. Outside of rare encounters, the mechanics of merging and burning feel like massively underused and unimpactful parts of the game.

It’s a common feeling. Take your main objective of ‘rescuing’ the specific survivors. I use quotation marks there because the actual process of saving them is kept ominously vague, and is instead best described as extracting and absorbing their soul to gain the knowledge needed to save humanity.

It’s here when I thought Cronos might step up from its clear inspirations with some fresh ideas. Not only is there a morbid mirroring at play (wait, are we the baddies?), but those other lives bouncing around inside your head lead to all sorts of different visions and hallucinations, depending on the characters you choose to save.

In its cleverest moments, who’s knocking about in your noggin can influence the environment or completely change how you perceive things in the world to create some genuinely spooky moments. Once again, though, outside of less than a handful of instances, this idea isn’t explored any further when it’s rife for some really interesting, exciting, and unique possibilities.

It frustrates and disappoints me more than anything. I really want to be clear that Cronos: The New Dawn isn’t a bad game: it plays fine, looks good enough, and runs well. Although I’d stick to performance mode on consoles if you can to get a smooth 60fps, as the quality mode feels far too jittery.

I just can’t help but feel that with the way it relies so heavily on what worked in classic survival horror games from yesteryear, I may have travelled back two decades myself to play it.

Should I play Cronos: The New Dawn?

Play it if…

Don’t play it if…

Accessibility

Cronos offers a range of standard accessibility options, including three color blind modes for green, red, and blue color blindness, as well as the option to add clear interaction indicators and subtitles in multiple languages that can be fully customised in terms of size and color.

The game has one Normal difficulty setting, with a Hard mode unlocked after you finish the game once. To customise the difficulty, though, you can adjust settings to get a more generous aim assist and alter whether you hold or tap for quick time events.

A center dot can be added to help alleviate motion sickness, while the game also provides options to reduce or turn off camera shake and sway.

How I reviewed Cronos: The New Dawn

I played Cronos: The New Dawn for around 16 hours on a PlayStation 5 Pro on a Samsung S90C OLED TV using a DualSense Wireless Controller. I mainly played in Performance mode, but I also tried Quality mode for a brief time and found the graphical improvements minimal compared to the benefits of a smoother frame rate.

I swapped between playing audio through a Samsung HW-Q930C soundbar and a SteelSeries Arctic Nova 7, and I definitely suggest headphones for the best experience.

I completed the main game and spent a lot of time exploring the environment to uncover as much of the story and as many hidden extras as I could find.