Even in switching to its lowest texture setting, we can't initiate the effect on PC at all in its current build. On PS4, normal maps for certain floors and walls are given a subtle 3D effect, remaining flat even on PC's top setting. A bizarre shortfall on PC is the apparent absence of parallax occlusion mapping (POM). PlayStation 4 is on the back foot in this sense, though it has one peculiar advantage in another. Viewed dead-on, assets actually show little change in switching between each setting, but the grade of filtering is certainly in flux as we move between each. PC uses a higher-grade 16x anisotropic filtering at the very high texture preset, and it's surprising to see filtering on the low preset is still ahead of PS4 in overall clarity. However Sony's machine falls visibly short in its use of texture filtering across roads, with signs of a trilinear approach causing a blur on the ground. Viewed up-close, PS4's geometry, foliage, and core texture-work are identical to PC's best. But to augment the experience, PC adds quality settings for textures, shadows and object detail - which go from low to very high, in some respects enhancing visual aspects over PS4. It's among the best uses of this rendering method we've seen to date materials for frosted glass, brickwork and woodwork across its Tudor-style pub fall eerily close to the genuine article. But in pushing CryEngine 3 to greater heights on PC, is this really the best way to play the game, and what do PlayStation 4 users actually miss?Įverybody's Gone to the Rapture relies on the same physically-based lighting on PC to achieve a gorgeous, almost photorealistic take on a Shropshire-inspired village.
However, the shift in platform means developer The Chinese Room can bolster the game's already impressive visuals with even higher-grade visual fidelity. A PS4 exclusive until now, Everybody's Gone to the Rapture's PC release is unusual - not least for Sony Santa Monica's hand in publishing and funding the project.
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