Average Playtime: 10 hours

Prey (2017)

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Prey (2017) is a single-player sci-fi first-person shooter developed by Arkane Studios Austin and published by Bethesda Softworks. While it is technically a reboot of the 2006 game of the same name developed by Human Head Studios, of which the sequel suffered a fall into development hell before the license was sold to Bethesda Softworks, there is no relation between the stories and universes of the two games.

The game is set in the near future of an alternate reality. You find yourself stranded on the Talos I space station, invaded by hostile aliens referred to as the Typhon. To survive, you must explore Talos I in search of weapons and resources to fight off the invaders. Along the way, you'll use neural modification devices to learn skills and psychic abilites.

Prey's gameplay loop takes heavy inspiration from System Shock and Bioshock. The game received critical acclaim for its gameplay and its atmosphere. Prey received one paid DLC extension called Mooncrash which introduced a roguelite mode and a free update called Typhon Hunter which introduced a multiplayer mode inspired by classic prop hunt.

Release date
Arkane Studios
Bethesda Softworks
Age rating
17+ Mature
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Last Modified: May 29, 2020

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Team Leader
Reached 250 kills total in Team Death Match
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Reached 125 kills total in Team Death Match
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Reached 25 Crawler Grenade kills
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Needing to take breaks during long sessions
Jul 30, 2020
My opinion on this game
Jul 30, 2020
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Prey (2017) reviews and comments

Journal Style Review:

Interesting start story wise. Gameplay feels very static though. It has a AA feel, not AAA. The graphics and art style are pretty generic. They aren’t atrocious but they aren’t very interesting either. 

Early on I’m interested in the upgrades this game has to offer. I’m not excited about the enemies though. I feel like fighting mimics and robots and other goo monsters will lose its satisfaction Pretty quick. Although I don’t have any psi abilities yet, that might increase the satisfaction. If this game turns out to be better than it initially feels it will have to be because of the story, the puzzles, and probably most importantly it’s going to need a well balanced rpg system where I have to pick and choose which ways to upgrade my character and gear effectively. It seems like it might do a pretty good job at that though. I like the way they deal with materials and the fabricators. I’m liking the neuromod skill trees. I’m struggling to decide which upgrade to unlock next, that’s the way it should be.

This game feels clever. I get the sense it’s well thought out. Which makes it a bummer that the handling is so poor. Why does the movement and gunplay feel so rough.

I have to give the game credit for one of the best video game jumps scares in awhile. Pushing buttons on the screen to calibrate it and then a phantom appears behind and I was caught completely off guard and yelled and jumped. Well done game. You got me. 

The game has been getting better and better. Im enjoying it more even though the combat is still not great. The dynamic between which psi abilities you upgrade vs other upgrades vs fabricator purchases is well done. And although the gunplay is still not great, the different ways to tackle combat has expanded. Do I use this piece of equipment or lead with a psi blast etc etc. I’m starting to see some of the appeal the combat has to offer.

I stopped playing 5 hours in to play Ghost of Tsushima. It is going to take a bit to remember what I was doing and to get back into it.

I’m dying a lot. Its partly because  I was rusty and I burned through my resources so Now I have like no ammo. But it’s also because I’m trying to kill everything so I can explore and loot every area, but I’m getting the sense I shouldn’t be playing that way. Some areas are too tough early on that it isn’t worth the resources. 

I’m slowly re learning the style of the game. Playing Prey after GoT is a big change up. GoT is so casual and peaceful and Prey takes a lot of focus. I’m getting there again though.

Current score: B+
Too large of a focus on combat with a boring combat system that frankly had it even been good would not have been appropriate for the enemy types in this game. I get that you're supposed to upgrade to approach encounters in different ways, but it's too little too late and acts more as mitigation of a bland system than an interesting system to play around with. Every combat encounter takes away the immersive sim from the immersive sim and the handful of stealth options feel more like Deux Ex Mankind Divided than OG Deus Ex. Huge disappointment coming from the developers of Dishonored.
Pretty much the pinnacle of immersive sims thus far. Prey provides interesting enemy design, a dazzling array of abilities and weapons, and a beautiful, immaculately planned environment to use them all in.

- Amazing level design
- Interesting enemy design (visual and gameplay)
- A general feeling of cohesiveness you rarely get
- Innovative mechanics
- Interesting story (including minor subplots to be unraveled)

- Facial animation of npcs can be quite a distraction
Why do I have to write something here? Just play the game.
This sure beats the hell out of the original Prey that came out in the early 2000s by the same company.  Greatest reboot in the history of video games!
«Blew my mind»
«That ending!»
This review is as spoiler-free as it gets. I definitely recommend playing Prey with as little advance information on the specifics as possible, even if some things are obvious from the marketing materials alone.

Arkane Studios has a relatively specific niche; players explore detailed, intricately crafted spaces in a first-person perspective, using a variety of synergistic tools both intrinsic and extrinsic to their character, with a focus on reactivity and a living world. Even though it could be argued that this perception only came about with their first major attempt at it with Dishonored in 2012, effectively giving us exactly one example of their talents in making this kind of game, the pedigree of the creatives who work there and the sheer readiness with which Dishonored embodied and advanced the traditions of other games in that vein solidified their claim to it immediately. The fact that each follow-up to Dishonored (its DLC, and the sequel) managed to equal or even surpass it, was confirmation enough that this was their forte.

Prey, then, was a very interesting case in that it was the first time we'd seen the Arkane style applied to a new world, and though it was clearly still within the same niche, held different goals to the sneaky, magical power fantasy of Dishonored. Developed out of one of their two studios in Austin while the first worked on Dishonored 2 in Lyon, it took on the name of Human Head's 2006 shooter, Prey, as Arkane's parent company (Zenimax / Bethesda) owned the rights to that. I haven't played Human Head's Prey, but it seems apparent that Arkane's Prey doesn't have much in common at all. In fact, I suspect that a working title for Arkane's Prey would have been 'Psychoshock', since it appears to have more similarities with games like System Shock, and others that have adopted the '-shock' suffix.

The differences between Prey and Dishonored, then, are not so much about making a very different type of game as they are about using the same tools to accomplish different things, in a way that mirrors the use of tools in the games themselves. Dishonored's level-based structure uses Arkane's unique talent to develop spaces to give you a whirlwind tour of Dunwall and beyond, presenting the player with levels that provide individual challenges and allow for a self-directed pacing, while Prey's singular, interconnected area can feel cramped, and builds familiarity in a way that isn't present in Dishonored. Dishonored's singular objectives can be approached from a variety of ways, much like Prey, but where Dishonored gives you a single clear point to work towards, and a narrative with a solid structure, your goals in Prey are especially unclear at the beginning, and it takes some time before you have a full understanding of the 'bigger picture'.

These departures from Dishonored are largely because of Prey's different aesthetic goals; Prey begins in a similar state to a horror game, giving you a limited toolset, limited spaces to explore, and a limited understanding of the game's world. It makes you feel these limitations keenly, making a great first impression to work with later. As the game progresses, you start to push back these limits in various ways, exploring new areas with new abilities, until you've finally built yourself a very capable character. It gives the game a more traditional, character-dependent arc, but the consistent introduction of new elements keeps a playthrough from getting stale. These new elements are often very significant departures from one another, instead of just having bigger numbers to deal with, like many RPGs. In these ways, you're less embodying an existing character, like the Royal Protector of Dunwall or an Empress, and more building your idea of who your character is, now that you're in charge. It's a fun sense of progression that manages to keep the adrenaline going through much of the game, supported by the themes of the narrative, and the number of different twists the game's story takes.

The aesthetics bear this out, helping create a space that feels hostile, empty and lived-in all at once. You rarely have much in the way of verticality or freedom of movement, but as you learn the intricacies of the different abilities you have, and develop strategies, you also develop an understanding of the game's setting and location. The game's setting and aesthetics aren't just a coat of paint on top of the blocks making up a level, the architecture provides reactive elements and wildly varying structure to individual moments of gameplay. They're not just beautiful spaces, they're beautiful interactive spaces, that breathe history. The game's setting is fun to move around in and explore physically, sure, but it also rewards you for developing familiarity and understanding of what this place was, who lived in it, and what happened here.

A number of aesthetic traditions carry over from other Arkane games here beyond that. The game has plenty of diverse bodies in it, more than just depicting characters that belong to various different ethnicities. The protagonist's gender can be selected, and multiple queer relationships exist in the game. Music and sound is a high point, capturing a variety of emotions ranging from retrofuturistic hopeful sci-fi, to creeping dread, to the totally alien. The voice acting is all superb, and in true Arkane style, the voice credits are always surprising, in that they manage to rope in a handful of notable actors for relatively minor roles. Benedict Wong is an exception, lending his considerable talents to one of the main characters, but there are a couple of others you might've heard of, or seen before. Keep an ear out; or more likely, look at the credits when you've beat the game, and wonder how you didn't recognize the Academy Award winning actor who had a minor role as an sidequest NPC for all of five minutes.

All in all, while Prey owes a lot to its forebears, the inimitable talent of Arkane Studios means that instead of a rote recreation of something we've seen before like System Shock, we get a unique, modern story delivered in lavishly designed visual detail, anchored by some of the strongest emergent gameplay yet designed. Arkane has their niche, but as Prey proves, that's far from a limitation.

If you need more proof of that, Prey's Mooncrash DLC provides a single-player experience that's close to a roguelike, relying even more heavily on the procedural aspects that Prey championed over its predecessors. Where Prey holds the structure of a largely static set of goals, Mooncrash transforms that into an ever-shifting, laser-focused series of 'runs'. It's experimental (to a degree) and a very good time, though maybe not as endlessly replayable as they might have hoped.
The single gameplay elements of this game are not that amazing, but together with the interesting level design they make a very good game. The game is at its best in the beginning when you don't have a lot of resources and every encounter with the enemy feels dangerous, while visiting new parts of the station. Later on you'll probably have accumulated enough weapons and leveled up skills to not have to worry about it that much anymore. Towards the end the plot drags a bit and makes you run around in old areas a bit too much.
Translated by
Microsoft from Deutsch
Class Game, comes very close to the system shock feel. The Beginning of the Game is mMn One of the most Ingenious Tricks in Computer Game History:-P It's not a classic Shooter, because Gun Violence alone is not enough. You also have to be able to think around the Corner or use your Environment to move forward. Exper-mimic Appetite is therefore a Prerequisite:-) The Story is told in Cutscenes and Radio Transmissions, but also a lot about "enviromental" telling like Emails, Notes, Audiologs and the Settings themselves. It is natural due to seating and also an elementary part of the Game Experience that you can find out about emails and co what else happened on the Station. After all, as a Protagonist, you have no Idea or Memory and use every Information Option. So the whole thing gets its Depth. Therefore, one should bring with you a certain Thirst for discovery. Friends of pure Ballet egg Don't get happy here. 85/100
Translated by
Microsoft from Deutsch
Prey Prey combines a lot of great Elements from other Games that I really like. A Mix of Bioshock, Halflife, Portal, Dishonored and DeusEx, to name a few. General/Game Principle In Prey, one takes on the Role of a Scientist who carries out experiments on his own Body. It is clear that something has to go wrong and the Situation is spiralling out of Control. You can find yourself on the huge Space Station Talos I and from now on you just try to survive. Prey is a very heavy Game. Ammunition Shortages often prevent the Way through the Front Door. It is therefore essential to use the Environment, find new Ways and provide Distractions to achieve its Goals. The Space Station is very threatening because it is huge. It takes some Time to find your way around there. There is one Main Strand and a lot of Side Missions. With the Help of experimental Machines (Recyclers, Fabricators, Repair stations and Dispensers, etc.), one's own Character can be enhance and new Objects can be produced once the Blueprints for it have been found. There is a Skill Tree that can be customized to the Desired Style of play with The help of Neuromods. The own Spacesuit can be pimped up with all sorts of Chipsets. Positive Variety: Shooter fights, Cracking codes, fixing stuff, sneaking Past opponents, individualizing character skills, Psi forces and different Chipsets for spacesuit. Etc. I find the Use of Objects in the Game very pleasant. At Terminals, for example, you can read E-Mails and start Programs, while you can still look around at any time. The Environment is very complex: There are cold, sterile Rooms, green Oases under Glass and dark Tubes and absolutely silent Exterior Inserts In the All Negative A few Glitches and Flaws exist. Have found a few Roof Beams that I fell through. Some moving Machine parts Also don't seem to possess a Body, as they simply fly through Items that get in the Way. Audiologs, People, Robots and Enemies sometimes all speak at the same time, so it becomes somewhat stressful to understand everything. Verdict I have not regretted buying. Prey has small Weaknesses, but I really like the Combination of dark history, great Backdrops, nasty Aliens and Individualization Opportunities for Character, Suit and Forces in the Game. Super Game! I would therefore like to recommend it further ...
Amazing story and gameplay is fluid. Overall AMAZING game!
«Blew my mind»
«Liked before it became a hit»
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