Nothing is more terrifying than the unknown. Unfortunately, F.E.A.R. 3
doesn't seem to grasp this, and it lays bare all the mysteries of this
series of paranormal shooters, moving the story forward but stripping
away its power to get inside your head and keep you up at night. But
while F.E.A.R. 3 may disappoint as a horror game, it satisfies as a
shooter. The campaign is good fun in single-player and especially
enjoyable when played cooperatively with a friend. And the game's
multiplayer modes present some thrills for those willing to work with
others to survive.
When Point Man sees a helicopter he wants, he takes it.
F.E.A.R. 3 follows hot on the heels of
F.E.A.R. 2's startling conclusion, but returns us to the protagonist of the original
F.E.A.R.,
the genetically designed supersoldier known as Point Man. The events at
the end of F.E.A.R. 2 have triggered a paranormal catastrophe of
biblical proportions in the city of Fairport, and Point Man is eager to
make his way there and help out a former squadmate caught up in the
chaos. Point Man's not alone, though. His homicidal brother, Paxton
Fettel, is along for the ride. Point Man may have put a bullet in his
brother's brain in F.E.A.R., but Fettel isn't about to let a little
thing like being dead keep him down. The brothers form an uneasy
alliance, but despite the tension between them, the story progresses
predictably. There's a pleasant sense of closure that goes with seeing
the brothers confront the painful reality of their shared past, but
there aren't any surprises or scares that will stay with you once the
story has run its course. The visuals also won't work their way into
your subconscious. F.E.A.R. 3's graphics are plain and lag behind
current standards. As a result, the creepy living rooms, city streets,
and food courts you fight your way through aren't quite as creepy as
they should be; the environments lack the convincing level of detail to
fully pull you in. The sounds are more effective; the loud blasts of
gunfire heighten the intensity of firefights, and the ethereal wails
that accompany ghostly visions may unsettle you a bit, even if the sight
of them doesn't.
Point Man and Paxton Fettel are both playable, but when tackling the
campaign alone, you must first play each stage as Point Man to unlock
the option to play it as Fettel. Regardless of which character you're
playing as, F.E.A.R. 3 is, at its core, a corridor shooter that shuttles
you from one small area to another and sees you constantly beset by
groups of enemies. Although the core action doesn't evolve much over the
course of the game, the firefights remain exciting. The assortment of
pistols, shotguns, assault rifles, and other weapons you can employ feel
powerful, and the smooth controls make aiming and shooting a pleasure.
And your melee attacks, which include a sliding kick that can send
enemies flying like rag dolls, make it fun to sometimes forgo the use of
guns and charge your enemies.
Most of your time is spent fighting soldiers in the private army of the
evil Armacham corporation, and these enemies keep you on your toes by
flanking your position, though they also occasionally do dumb things
like get stuck while coming down stairs. All of the areas in which
shoot-outs take place provide ample opportunities for cover, but a lot
of cover is destructible, and it's a thrill to frantically dash from one
position to another as your cover is blown to smithereens. F.E.A.R. 3
prevents the shoot-outs from growing tiresome by providing atmospheric
periods between firefights. For instance, a few quiet minutes spent
making your way through a defiled superstore build up the tension before
the bullets start flying. And although Point Man and Paxton are
figurative killing machines, the occasional opportunity to take control
of a literal killing machine and make things very unpleasant for your
adversaries is a lot of fun. At a few points during the campaign, you
can commandeer two types of armored power suits. These powerful,
lumbering contraptions make the assaults of Armacham soldiers laughable,
and shooting helicopters out of the sky from inside one of these
machines is a delicious taste of destructive power.
As Point Man, you have an edge in battle courtesy of your unnaturally
fast reflexes. These let you trigger slow motion for brief periods,
making it much easier to line up that perfect headshot or deal with an
overwhelming number of assailants. There's nothing novel about the
ability to go into slow motion in shooters anymore, but it's still cool
to see the air vibrate in the wake of a speeding bullet that whizzes
past your head or to watch as what's left of an enemy explodes in a
bloody mess. Paxton lacks his brother's heightened reflexes but makes up
for it with other talents. As a specter, he can't pick up guns (though
he's still vulnerable to bullets), but he can suspend enemies helplessly
in the air and fire deadly blasts of energy from his hand. He can also
take possession of soldiers even from significant distances, and it's
liberating to zap into the body of an enemy from across the room. A
meter drains while you inhabit a body, and if it runs out, you're
returned to spectral form. But enemies you kill leave behind psychic
energy that you can use to refill your meter and prolong your possession
time, encouraging you to take risks and not hide behind cover for too
long.
