Defy the undead with shotgun in hand as you explore a post-apocalyptic wasteland of unrelenting terror in The House of the Dead III. Fans of the series will thrill to beautifully rendered gore, time-sensitive gameplay, and a wide variety of branching paths. Gamers take out wave after wave of horrific zombies as they travel different routes and advance the story line, uncovering new secrets and hidden areas along the way. The all-new shotgun comes in handy when surrounded by an army of undead. Players must use it wisely to take out multiple enemies in a single blast as they plow their way through the most exhilarating nightmare yet.

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Dead Man’s Hand is a conventional first-person shooter, so if you’ve played one of the countless number of similar such games in the past few years, you’ll have no trouble picking it right up. The game features a fairly brief single-player campaign, playable on three different difficulty levels, and an online multiplayer mode for up to eight players. Online play includes your standard deathmatch and team deathmatch modes, as well as a mode called bounty, in which one particular player becomes the target of everyone else, and another mode called posse, in which players join forces to hold their position against waves of computer-controlled bad guys.

There aren’t many multiplayer maps to choose from (especially for posse mode), though what’s more problematic is the overall feel of the action. There’s little discernible feedback for when you’re taking damage, and hit detection is generally flaky, making the core multiplayer gameplay rather unsatisfying. One way of squeezing a little value out of the game’s multiplayer features is to start a “posse” session all by yourself, if you just want to shoot at some targets. That may be your best bet, as after several days’ worth of attempts, we encountered only a handful of players running about in Dead Man’s Hand’s multiplayer offering.

The single-player portion of Dead Man’s Hand casts you as El Tejón, a Mexican outlaw who’s been double-crossed by his gang. You’ll guide El Tejón through a linear series of missions (there are some optional bonus missions along the way) in which he’ll track down and take revenge on his former allies one by one. For the most part, these are straightforward, by-the-numbers first-person shooter levels. They’re all relatively short and noticeably scripted, meaning you can expect your enemies to pop out from exactly the same spots each time you play each mission. And, at least at the default difficulty, you’ll often need to retry missions a few times, because it’s quite possible to instantly get killed in many situations, such as by standing in the vicinity of a powder keg when it goes off. You’ll also sometimes lose a great deal of health trying to shoot foes that, due to the game’s somewhat flaky hit detection, you just won’t be able to hit (though, for what it’s worth, this problem isn’t nearly as severe as in the Xbox version). Your occasional showdowns with boss opponents will yield mixed results, too. Some of them are tough, while others are total wimps just waiting to get shot full of lead.

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F.E.A.R. simulates combat from a first-person perspective. The protagonist’s body is fully present, allowing the player to see his or her character’s torso and feet while looking down. Within scripted sequences, when rising from a lying position or fast-roping from a helicopter for example, or climbing ladders, the hands and legs of the protagonist can be seen performing the relevant actions. The game’s environments are largely urban-styled and indoor; this element has received criticism.

The player character uses reflex time while firing on a group of soldiers.

A prominent gameplay element is “reflex time,” which slows down the game world while allowing the player to aim and react at normal speeds. This effect is used to simulate the character’s superhuman reflexes. Reflex time is represented by stylized visual effects, such as bullets in flight that cause air distortion or interact with the game’s particle effects. F.E.A.R. lead designer Craig Hubbard stated that Monolith Productions’ primary goal was “to make combat as intense as the tea house shootout at the beginning of John Woo’s Hard-Boiled.” He continued on to say that “defeat[ing] … enemies … with style” was crucial to this goal and that reflex time plays a large role in “mak[ing] the player feel like an action movie hero.”

The game contains weapons based on non-fictional firearms, such as pistols, assault rifles and submachine guns, as well as entirely fictional armaments like particle beam weapons. Each firearm differs in terms of ammunition type, accuracy, range, fire rate, damage and bulkiness. The latter characteristic affects the player’s character, as more cumbersome weapons slow the player’s maneuvers. Monolith Productions stated that it aimed for “a balanced arsenal where each weapon serves a specific function,” rather than “just going with a bunch of real-world submachine guns and assault rifles.”[9] F.E.A.R.’s heads-up display crosshair’s size dynamically shows where shots will fall based on movement, aim and the weapon in use. The player may carry only three firearms at a time; thus, strategy is required when using and selecting weapons. All weapons possess mêlée attacks, and a hand-to-hand combat system allows unarmed players to attack with maneuvers including punches and kicks.

F.E.A.R.’s artificial intelligence allows computer-controlled characters a large degree of action. Enemies can duck to travel under crawlspaces, jump through windows, vault over railings, climb ladders and push over large objects to create cover. Various opponents may act as a team, taking back routes to surprise the player, using suppressive fire or taking cover if under fire. The game’s artificial intelligence is often cited as being highly advanced,[ and its efficiency helped the game win GameSpot’s “2005 Best AI Award.”

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