The Order: 1886: Ready At Dawn's cinematic PS4 debut is coming into focus | Features | Edge Online

Some exploration:

Promising an eclectic-yet-believable world that marries his childhood familiarity with the city of London to his US team’s more grandiose impressions, Weerasuriya hopes the “internal fight going on about what’s right about London will capture the best of both worlds”. Based on what we’ve seen so far, it’s paying off. Cinemascope street scenes thick with atmosphere and passers-by are the strongest indication that this is not your average shooter, the lighting so cinematic that it’s hard to foresee anything looking dull except for the weather.

Is the city explorable, then? Can we investigate its murky alleyways at will? “That’s always the struggle,” Weerasuriya says. “I love to explore the environment so long as it gives you something back. Yes, we’re trying to do some of that, but the reality is that it’s a single-player game that takes you on a ride, and we don’t want to compromise that ride.”
Graphics vs cinematics

Following the filmic trend to its natural conclusion, there will be no bumps between presentation styles. “[For] practically every single thing you see in the game, there’s no difference between cinematic and in-game. All the cinematics are realtime; you’ll get back into the game and everything you saw in the cinematic will be there.”
Shooting and melee

The principals – analogues of key players in Arthurian lore with the titles to match – are certainly a handsome, rugged and finely coiffed bunch; the next-gen hair race is proving quick off the blocks. Look at them, though, moving into and out of banter range as the action ebbs and flows, and you have to wonder how much Gears Of War continues to drive the genre.

Weerasuriya quickly assures us that “rather than just making a third-person game, we took it upon ourselves to figure out why we like them. Not everybody likes third-person shooters for the same exact reason, so we tried to figure out what the core elements were [that] we wanted to keep, and also add that element of what we’ve done in the past – for example, melee.
Atmosphere

If you look outside, it’s not just clear; there’s dust in the air, fog, all these things that make this world immersive. We created this light – it’s the way they use light on film sets. They have a light source, but because there’s so much dust, you feel like the light is glowing through these layers. It’s an aura almost, this halo effect. The light has no source so much as this glowing area. It makes it feel really gritty and dirty, and we thrive in the dirtiness of our world. Nothing’s clean.”