One thing you can be sure of is that Killzone 2 is a very pretty game. Guerrilla's in-house engine uses deferred rendering, separating its various filters such as motion blur, film grain and bloom onto six of the PS3's SPUs, to create a cinematic blend of visual effects without damaging the frame-rate, while the art department is focusing in on the design details that will help tell the story. Weapons and vehicles both play their parts in differentiating the two warring factions, from the nasty, wooden-stocked, rusting guns and predatory aircraft of the Helghast, hinting at a society that's both brutal and stagnant, to the slicker, cleaner rifles of the ISA, whose tanks and planes resemble existing military technology that's just been nudged forward a few years.
By and large though, the real polish is being applied to the environments. Guerrilla's first game played out in a muddy warren of swamps and corridors, but the sequel takes the fight back to the Helghast's home planet. Killzone 2 tells an unusual war story, then: you're not the underdog anymore. In fact, the ISA are now all but victorious, zeroing in on the last enclave of a weakened enemy.
"We knew the Helghast are fascist and wanted that to be reflected in their world, but we didn't want it to be too big and rich, so we made it cramped and dirty: China or Moscow rather than Berlin," says art director Jan-Bart Van Beek. The results are a cobbled-together futuristic slum, a decaying urban sprawl that threatens to spill apart. Rather than streets, the levels flow through empty concrete riverbeds, and there are signs of oppression and neglect everywhere.
But the game's in no danger of becoming samey - the city we've seen already isn't the only environment, and the rest display a surprising range of styles. A later visit to a forgotten Helghast outpost features carcasses of industrial buildings constructed from the bones of the spaceships that first landed there. The inspiration lies with Pakistani ship-breaking wharfs where boats are stripped for parts, and while it means yet more factories to plod through in a first-person shooter, these have a haunting, mysterious quality that makes them different: a mixture of the sad, the brutal, and the gently exotic. And in every location, the toxic variety of Helghan is always present. In the game's fiction, the planet's polluted atmosphere is itself a Class III toxin, and the ravaged weather system's lightning flashes and dust storms seem likely to have an influence on the level construction.