The multiplayer modes were entertaining, but, like the campaign, were flawed as well. The different game modes are deep and the weapon loadouts are good enough. However, it is the game loading that will certainly bug multiplayer enthusiasts. To get into a game, player first must enter a lobby and wait for everyone to toggle the “Ready” button. But, if a few people don’t claim their preparedness, you could be waiting in the initial lobby for a while. Once in a game, some modes make players have to endure two more waiting screens. While it wasn’t terrible, it wasn’t a great multiplayer experience.
The in-game animations were superb. Each and every one of the paranormal events (which occurred when Alma has psychic connections with Becket) left me wondering how the engineers did it. Sometimes I would see Alma in the distance, but she would disappear in a half-second. Other times, the entire environment, though initially a stable building, would seamlessly turn into a flaming hellscape. At these points in the game, I felt like I was really in a movie. They also made me terrified. Well played, Monolith. Well played.
The soundtrack of Project Origin was also a success. Though quite experimental, I thought it was quite enjoyable. The songs built tension and heightened the action well. There were heavy drums and some Middle Eastern vocals that were actually quite catchy. However, listen at your own risk. If my experience in sharing opinions about music has taught me anything, it’s that not everyone agrees with what you think. Consider yourself warned.
Ah, but Project Origin wasn’t all grand. After all, the Indian-inspired soundtrack only played through so much of the game.
My first major criticism of the game (beside the clarity of the story) is within the graphics. The character models were fine but their motion was unforgivably flawed. Some of the characters were meant to be scary when attacking by jumping from wall to wall. However, instead of a smooth motion, the models would just sort of skip around, taking what could have been a scary moment into a clinic for awkward situational comedy.
Additionally, effective environment creation still haunts the F.E.A.R. developers. As it was in the original F.E.A.R., Project Origin had some issues in the development of interesting environments. Many of the larger areas were very monotonous and easy to get lost in. There were not enough landmarks in some levels, leaving players to memorize large environmental layouts by themselves.
A lot of these criticisms may sound like nitpicking and I must agree to a point. They are not huge issues when considering the entire production. However, considering at how good the in-game animations were, I truly believe that this game could have been significantly better. Even if the character model motions and environments were half the quality of some of the sequences, this game would have been in 9ish territory. Instead, the smalls flaws and the clarity issues within the story were just too much to handle.
At $59.99, I would hardly call this game “worth it”. However, if you see it for rent, I wouldn’t hesitate on picking it up.