Shadow Fall's levels more closely resemble Crysis 2 and Crysis 3's areas than any prior Killzone game's, yet the game displays such expanses with more clarity than Killzone 3 displayed its tighter zones. You traverse a fair share of corridors, but you also float through the vastness of space and engage Helghast soldiers on stretches of rocky, open land. At first you might think that Shadow Fall doesn't represent a giant graphical leap forward, but it isn't displaying the typical shooter's limited spaces. This is a beautiful setting for a first-person shooter, and a fine showcase for the visual possibilities new consoles introduce. Their capital city may reach into the clouds and spread across the terrain, but birds still fly freely between skyscrapers, and massive mountains provide a sweeping backdrop. Where the Helghast were at the mercy of their harsh climate, the Vektans have made peace with nature. Vekta's gleaming blue seas and futuristic cityscapes have supplanted Helghan's reddened skies and intimidating dust storms. Shadow Fall brings the ongoing conflict between the series' warring races to planet Vekta, which provides a stark contrast to the hazy Helghan environs we explored in the previous two games. More wonderful, however, is the art the software's ones and zeroes convey. Its buttery-smooth performance is also bound to earn kudos: Shadow Fall smooths away the frame rate hitches and texture pop-in we've become so accustomed to in even the most visually impressive console shooters. Like its predecessors, Killzone: Shadow Fall is likely to be described through a technical lens, and the game certainly deserves praise for how many polygons it packs into its most expansive landscapes.

To define these games through terms like 'IBL sampling' and 'particle vertices' diminishes their striking beauty. The Killzone series has often been lauded for its technological merits, but its artistic merits go too often unheralded.

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