A detailed and heartfelt personal-stakes story and shockingly high production values (especially after the Syberia 3 debacle) combine here to produce something actually quite good, as long as you're prepared for an experience more like a Dontnod game than a puzzler. The only real negatives are how bizarre the inciting setup is and how little to do with the rest of the series it all feels.

I think I'm prepared to - narrowly - forgive this in the end, but the decision to, in 2022, make a game fundamentally about the tragedy of World War 2 and yet refuse to say the words "Nazi" or "Jew" is a cowardly misstep.

Started off as a surprisingly decent Splinter Cell clone but in the last third devolved into a terrible shooter. The most interesting thing about it is that it made me think how a stealth game could work if it borrowed the map structure and resource management from Resident Evil.

A large, gradually opening up building to navigate and persistent enemies and gear that you need to carefully manage over time is something I haven't seen in a stealth game, MGS2 being probably the least far off and still nowhere close. And Cold War wasn't very close either, it just had a large building to navigate over several hours, but it was still split into linear levels where areas are arbitrarily locked off and nothing persists between levels even if the areas are reused. But at least it was leaning in that direction.