![]() ![]() It’s just that sometimes the hallways have windows showing future arenas, or arenas are recycled and re-contextualized as you play.Įven on a moment-to-moment basis, F.E.A.R.’s levels are fascinating. You’re still going from hallway to arena. ![]() It’s reminiscent of John Romero’s level design from Doom, but it’s more linear than that. When they do, the dynamics of the fight are reversed - now the enemies are below, and the player has better cover.į.E.A.R. A particularly intense fight has the player shooting enemies on the balcony above, but players won’t be able to get up to the balcony until much later in the level. ![]() consistently shows players places they can go, but it doesn’t immediately provide a way to get there players climbing a ladder at the start of one level can peer through the rungs and watch a Replica soldier setting up mines near the end. The geography of those bland-looking levels is fascinating. The game takes place largely at night, its locations dominated by concrete and steel. Great shooters, like this year’s Doom and 2014’s Wolfenstein: The New Order, use this formula to great effect.į.E.A.R.’s biggest weakness is its unmemorable setting. It gives players breathing room between fights. It’s rudimentary, but it’s great for pacing. Essentially, players travel down a hallway and into an arena, fight enemies in the arena, and move on to the next hallway and arena. Modern linear shooter level design was popularised by Valve with the release of Half-Life in 1998, seven years before F.E.A.R.’s release. takes this mechanic and blends it with a fascinating, unique style of level design that enables enemies to attack from unexpected angles. Most games that utilise this mechanic leave it at that, which ends up being boring. It wasn’t the first game to use the system. has bullet time, the system in which you press a button to make time slow to a crawl, allowing you to react to attacks that might otherwise have killed you. Great Use Of Bullet Time To Combat Unpredictable Enemiesį.E.A.R. For example, there’s “Interval 04 – Infiltration.” Rather than colourful video game level names like “The Silent Cartographer” or “Effect and Cause,” F.E.A.R.’s levels are simply numbered Intervals, usually with a one-word description. The premise sounds silly, but what follows is a uniquely compelling blend of Hong Kong movie action, Japanese horror, and American first-person shooting. A psychic cannibal named Paxton Fettel has taken control of an army of cloned super soldiers called the Replicas, and he’s attacking the headquarters of the sinister Armacham Technology Corporation. In F.E.A.R., you play the Point Man, a rookie in a crack squad of soldiers who fight the paranormal. It is one of the smartest shooters ever made, a game that won’t wow you with a screenshot but should impress you if you play it. Eleven years after its release, the first-person shooter F.E.A.R. ![]()
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