Trepang2 (PlayStation 5) Review

Some terrible experiments and supernatural-ness have led to Terpang2's protagonist being kept in a secret facility under lock and key. The opening level is an explosive escape from this imprisonment that instructs, without hand-holding, the main mechanics. This level also makes clear that the story, while it has a bit of depth, is not going to be the main focus of the title. The plot is presented in short first-person cutscenes with limited dialogue but is compelling enough with companies fighting one another over research. Each chapter is also littered with lore pickups to be read at leisure, all of which give some flavour to the world and characters without bogging the game down.

So, if the story isn't the focus… then what is? Well, that would be the big G, gameplay. The gameplay here is super reminiscent of the first F.E.A.R title. The feature most people remember from that title is its ultra-violent, fast-paced, cinematic shooting and Trepang2 has captured that same element effortlessly. All levels are designed around having fast-paced, fun gunfights with enemies who try their best to be smart but are really just there to explode into chunks. Every gun is loud and has a meaty bass reverb with some controller feedback on the PS5 it is very satisfying to pull the trigger.

However, shooting is not the only tool in the available arsenal. First of all the protagonist has a slide kick that launches enemies into a ragdoll allowing for approaches like disarming shielded enemies or bowling over more powerful enemies that are posing a threat. This physicality feels excellent and with the slide being available so easily and happening so quickly it's an indispensable technique. The second power the player's character has is a slow motion or reflex mode, again shadowing its inspiration. By pressing a single button time can be slowed allowing for quick mincing of groups of enemies or to manoeuvre out of harm's way.

Visually the levels can look quite striking and the settings are varied offering up lots of different arenas to fight in. One of the most memorable is near the beginning of the game when a memorial hall for the enemy corporation's employees is stumbled upon; the stark lighting, slow sad music and glass panes full of names are very interesting to experience and offer a little slower moment for reflection before blasting hundreds more enemies to death.

From physics-based ragdolls and extreme particle effects, it hits that specific catharsis on the head. A lot of the geometry is simple and blocky as though it is an older title but it is never aesthetically inconsistent or boring. In fact, the atmosphere is rather unique and does take a lot from its inspiration. This is further propped up by the sound design; the music can be quite heart pumping and the meaty sound effects keep the guns and action impactful. It is a soundscape that feels quite accomplished, pulling to mind the gun battle scapes of older movies with pinging bullets and loud explosions punctuating the quieter traversal scenes or stealthy moments.