Crime Cities

Not fun Graphics (7/10) Game Play/Design (1/10)

Aus einer längst vergessenen Ära. Leider spielt es sich auch so und ist nach heutigen Maßstäben wirklich nur noch etwas für Liebhaber solcher Spiele. Es ist an sich auch wirklich schön gemacht und läuft auch Tadellos solange man berücksichtigt das es damals kein 16:9 sondern 4:3 gab und nicht deswegen auf 1280x720 oder 1920x1080 pixel geht..ja da müssen es sowas wie 1024x768 oder 800x600 sein.. das sind sowieso schon gute Auflösungen für die Grafik. Wenn Ihr keine 4:3 verwendet wird euch das HUD abgeschnitten, dieses Spiel kennt 16:9 usw nicht! Die Grafik an sich lief über Direct-X Schnittstelle tadellos (keine Ahnung ob OpenGL und 3dfx Voodoo dasselbe herauskommt) Gaming on: Details über mein Laptop hier: https://valid.x86.fr/4zvdwc Performance Test hiert: https://www.userbenchmark.com/UserRun/49244514

günümüz pcleri açmıyor sürekli oyundan atıyor

Good game but really broken the main problem with me (and it seems like with other people aswell) that there is a shop menu but everytime i enter it the game freezes i do love some of the complexity of this game and the scenery for a 2000s game is so cool its a shame that it just has 1 glitch that always freezes the game

какой-то неиграбельный динозавр

Ryan Gosling gibi hissetmek için almıştım da, oyunda Ana De Armas'ın çıkıp bize ''you look lonely, i can fix that'' demediği yetmiyormuş gibi, bir de oyun bize sanki her şeyi biliyormuşuz gibi çat diye görev veriyor. Acaba öğretici kısmı mı atladım dedim, yok oyun basbaya bizi kargaşanın ortasına atıyor. Atmosferi güzeldi sadece, ama oyunu anlayamadan haritada boş boş tur atmak da bir yere kadar.

Crime Cities, developed and published by Techland, is an early 3D-era experiment that blends vehicular combat, mission-based progression, and a loose open-world structure into a cyberpunk setting that feels both ambitious and uneven. As Techland’s debut title from 2000, it carries the marks of a studio exploring ideas that would later become more refined in the broader industry. It doesn’t always succeed in execution, but its willingness to combine genres gives it a distinct identity even decades later. The game is set in a dystopian future where criminals have been exiled to a remote planetary system and left to govern themselves. You play as an undercover operative infiltrating this chaotic society, navigating a network of factions and power struggles. While the premise suggests a rich narrative, the storytelling remains fairly minimal, delivered primarily through mission briefings and interactions rather than fully developed sequences. It provides enough context to justify the player’s actions, but it rarely becomes a driving force behind the experience. What sets Crime Cities apart is its complete reliance on vehicular gameplay. Every activity—from exploration to combat—takes place inside a flying craft, moving through densely packed vertical cityscapes. This design gives the game a unique sense of space, allowing players to move freely in three dimensions through towering structures and layered environments. For its time, this freedom was notable, creating a feeling of openness that contrasts with the more constrained design of many contemporaries. The mission structure offers a variety of tasks, including combat engagements, transport jobs, and faction-related objectives. Players earn currency by completing these missions, which can then be used to upgrade their vehicle with new weapons, defenses, and performance enhancements. This progression system adds a layer of customization, encouraging players to refine their approach and experiment with different loadouts. On paper, this variety helps maintain engagement, but in practice, many missions follow similar patterns, and the sense of repetition becomes more noticeable over time. Controls are one of the game’s more challenging aspects. While the ability to move freely in all directions is conceptually appealing, it can also feel unwieldy, especially in tighter spaces or during combat. Precision is difficult to maintain, and this can lead to frustration when navigating complex environments or engaging fast-moving targets. The learning curve is not insurmountable, but it does create a barrier that can make the experience feel less accessible than it might otherwise be. Despite these issues, the game’s atmosphere remains one of its strongest qualities. The cyberpunk setting is brought to life through towering architecture, moody lighting, and a constant sense of urban density. There’s a clear influence from classic science fiction, and while the visuals are dated by modern standards, they still convey a distinctive tone. The soundtrack and ambient audio further enhance this mood, creating an environment that feels cohesive even when the gameplay falters. From a technical standpoint, Crime Cities shows its age in several ways. The interface is functional but clunky, and the overall presentation lacks the polish expected from more modern titles. Performance and visual fidelity reflect the limitations of early 3D development, which may be difficult for some players to overlook. However, for those approaching it with an understanding of its context, these aspects can also be seen as part of its historical character. Ultimately, Crime Cities is a game defined by its ambition rather than its refinement. It introduces ideas that were ahead of their time, particularly in its use of vertical space and genre blending, but it doesn’t fully realize them. The combination of repetitive missions, awkward controls, and limited narrative depth prevents it from achieving lasting impact as a complete experience. Even so, it remains an interesting piece of gaming history. For players willing to engage with its quirks and limitations, it offers a glimpse into a formative period of 3D game design, where experimentation often took precedence over polish. It may not hold up as a consistently enjoyable modern experience, but it retains value as a unique and ambitious project that helped lay the groundwork for more refined titles that followed. Rating: 6/10

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Всем тем, у кого игра намертво зависает в главном меню - просто перезагрузите ПК, проблема решаема. Насчёт самой игры - я расстроен, пока что это единственный продукт Techland-a, который мне откровенно не понравился. Я понимаю, что игра старая и что ей больше 20 лет, что за это время стандарты геймдизайна изменились, вот только приятнее от этого играть не становится. Графика откровенно устаревшая, квадратно-угловые здания, такие же автомобили и объекты, почти ничего круглого. Атмосфера киберпанка очень годная, саундтрек просто 10/10. Наверное одна из первых игр, которая позволяет управлять летающим автомобилем и эта концепция действительно интересная, пусть управление и хромает. Дефолтное управление довольно неудобное, все эти нампады и так далее, которых на современных ноутбуках нет, нужно довольно долго сидеть и менять кнопки. Игра будто заточена под контроллер, но согласно Стиму, игра их не поддерживает. Сложность здесь это что-то. Вот вроде бы есть разные апгрейды для автомобилей, и стоят относительно недорого, и платят хорошо за миссии, а после заданий основная часть денег уходит на ремонт, причём бОльшая часть денег. Стрельба неудобная, противники постоянно вертятся, из-за чего попасть по ним получается крайне редко. Что разочаровало больше всего: качаешь себе звездолёт, прилетаешь на новую планету, а твоя машина нулевая и начинай прокачку заново. Репетативность геймплея убивает весь интерес к игре и желание продолжать, к сожалению, по сегодняшним меркам игра далеко даже не середнячок

Ein Spiel mit klungiger Steuerung was nicht gut gealtert ist.