Homefront is an exceptional first-person-shooter. That makes it a disappointment only because it clearly could’ve been so much more.
John Milius (writer of Apocalypse Now, writer/director of Red Dawn) penned Homefront’s single-player campaign. He revisits his Red Dawn vision – ever rooted in contemporary international realities – of an America
From its very initial moments, Homefront never lets you escape or withdraw from an emotional involvement in Milius’ bleak, near-future American landscape. The game’s opening moments aren’t a rendered cut scene, but a roughly five-minute crash course montage of both real newscasts and fully-produced live mock-ups that begins with Hillary Rodham Clinton addressing the press regarding true-life 2011 sanctions against North Korea Asia spiraled into chaos following North Korean dictator Kim Jong-Il’s 2012 death and the ascension of his son Kim Jong-un – the one this speculative America
Kim Jong-un unites North and South Korea Saudi Arabia Iran America Japan America
Finally – following the combination of a deadly bird flu epidemic, drastic Korean military expansion and detonation of an EMP over Kansas America San Francisco Hawaii
The relentless pacing won’t so much “suck you into” or “draw you into” the game. From the moment the 16-year opening rehash ends, it throws you violently out your present-day comfort zone’s door and deadbolts it behind you. You’re now former U.S. Marine helicopter pilot Robert Jacobs and his eyes will be your eyes for the next five to 10 hours of game-play. Including not a single third-person cinematic cut scene is a brilliant tactic for a first-person game rendered in such striking real detail as this one via the Unreal Engine 3.0 with its dynamic lighting and shadow, destructible backgrounds virtually perfect NPC and enemy movement. There will never be a moment where you will detach and an end-of-mission summary or seeing your character from a different vantage point will remind you make a subtle reminder that it’s a game.
As the Korean People’s Army rousts you from your home and onto a bus bound for a re-education camp, never look anywhere but left. You’ll see fellow Americans similarly taken and swept away. Blood flies against your window as a countryman is executed curbside. See a child toddle howling to the parents just executed before his eyes.
Later, following an intense and vengeful firefight through a Korean prison camp, you’ll hide helpless from KPA patrols beneath a mass grave’s blanket of nameless corpses – with a dead man’s hand dangling over the camera and another victim’s empty eyes staring into yours.
Until a brief fly-over pan of a battle-torn Golden Gate Bridge you just fought and clawed your way across minutes earlier, this will be your vision. This will be your world. Jacobs’ face may as well be your face, because his eyes won’t cease being yours.
It’s something in gaming that rarely ever receives the praise it deserves, but a nod for such an immersive experience must be given to the sound design. My ears still echo now with the whistle of every bullet that whizzed inches from Jacobs’ ear on the battlefield and every equilibrium-rocking RPG and frag grenade that detonated at my fight. It’s a complete sensory battlefield replication right down to the challenge of adapting to finding enemies in rifle sights backlit against the blinding sun.
The game-play itself is smooth as could possibly be. Credit to Kaos Studios for a game in which I never experienced a single hit-detection, wonky clipping or many cheap deaths. Even at a default difficulty, Kaos found a line between challenging enough to taunt a gamer into continuing and the “f*** this” line of obscene difficulty.
It’s a tremendous, white-knuckle experience that has just one drawback, and if you ask me, it’s a big one: a seven-mission campaign? Just seven? Really? Five to 10 hours to complete the single-player mode? It’s a gripping, harsh experience that doesn’t feel remotely like an equivalent to the two-hour Red Dawn or the two-hour-plus Apocalypse Now.
I feel like the FPS genre should somehow be past this by now. I get that few genres – fighting and traditional sports included – lend themselves so well to great multiplayer experiences as the FPS. Thus, I can understand that being an emphasized selling point, and thus the most emphasized aspect of a shooter’s development. But without the kind of incredible storytelling that the Gears of War and Halo franchises displayed, so many shooters just feel like half-completed games to me.
Believe it or not, some people don’t game online frequently. It might not even be so frustrating if the single-player mode had been very, very bad. But on the contrary: it’s extremely good and highly intense, but what’s there is burned through too quickly and reaches a rushed, sharp conclusion.
I’ve heard rumors that Homefront’s saga will continue later this year with downloadable content. That’s even more disappointing. I love great DLC but only in a context where it expands upon an already great ending and the main game’s ending doesn’t drop off sharp. DLC should be an optional but attractive expansion on a complete game, not a means of bilking me out of coin for game-play that would’ve made the main game even better had it been included in the first place.
My verdict? Rent it. Play through it, even play the predictably enjoyable multiplayer maps. It’s a memorable experience while it lasts, and an admirable effort of a gripping solo campaign. It can be finished over a single lazy afternoon, with really little single-player replay value outside ratcheting up the difficulty setting. If you only care about multiplayer, I must wonder why you wouldn’t just buy Call of Duty: Black Ops.
