New material is scant, but what little we do get serves to colour the world in a bit more and add further detail to an already fully-formed setting. Despite kicking off with an interesting flashback that introduces the threat of the mutated Cordyceps fungus that hangs over the entire story, fans of the game will be in familiar territory for the most part, as events pretty much follow the plot of the game’s opening hours right down to almost every line of dialogue. The aforementioned pilot episode, Lights Out, is a slightly clunky affair, owing mainly to some off-kilter pacing, but otherwise it serves as a decent adaptation of the game’s prologue and its opening few chapters. Clearly, this is an adaptation that knows what made the original work resonate with millions of fans, and the sheer amount of creative effort to keep that all intact in the translation from game to television is evident throughout the show’s opening instalments.
With Druckmann at the helm alongside Chernobyl creator Craig Mazin, there’s immediately a sense that we’re in safe hands here, especially once the strings of original composer Gustavo Santaolalla‘s haunting main theme begin to play over a beautifully rendered and inventive title sequence.
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