
In Prey, you awaken aboard Talos I, a space station orbiting the moon in the year 2032. You are the key subject of an experiment meant to alter humanity forever – but things have gone terribly wrong. The space station has been overrun by hostile aliens and you are now being hunted.
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All-time low is the lowest price we've recorded for this game since we started tracking it.
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Build ids and update times come straight from Steam's PICS — the same source SteamDB reads. Patch history grows as we record new builds.
Engagement
Hours played at review time, across 623 reviews with recorded playtime.
Reviews
Themes across 621 recent reviews and how positive each mention is. A keyword signal, not full sentiment analysis.
positive critical· bar length = how often the theme comes up
Reviews
熬夜到今日凌晨四点,把prey的几种结局都打出来了。但是我无法忍受的是,无论我选择广播极波还是炸掉空间站,抑或是逃回地球,最终地球都还是会被异魔占领。好吧,或许一月的话说得很对,人类自始至终都是海洋中手无寸铁的游客,身边还可能浮动着血腥味,而Alex却想让我们成为更强大的鲨鱼。其实到了最后两个小时,“prey”才真正在文本中被点题:主角在一路中披荆斩棘,杀了无数的拟态、风暴异魔;人类想要研究、征服这些外星生物,取其能力为己用;我们建造了硕大的塔洛斯一号,向着星辰大海进发……但是当更高阶的生物降临时,我们瞬间变得束手无策;它们甚至可能以意识为食;它们只要轻轻伸出卷须就能让人类溃不成军……究竟是谁在捕食谁? 但是在最后作者还是留了转机给我们:我可以杀光所有人,也可以选择握住Alex的手,跟他继续改变未来。永远都会选择希望——这正是所有科幻作品中人类得以存续的唯一原因。说实话我自己玩的时候也是这样的:我不愿意看到我们数十年的研究成果就这样毁于一旦,我不愿意在尘埃落定之前就让死亡成为众人的结局。所以我选择了到处救人,所以我选择了在异形珊瑚中心广播极波试图在不摧毁空间站的情况下杀死异魔…… 最后的那个选择其实很有细节:如果选择握手,你会发现你刚刚伸出去的手臂有一半是人的肌肉,另一半是风暴异魔的组织,然后握了手之后,整个手臂就全变成人的手臂了。而如果选择杀人,那么你就会伸出几根异魔的触须,把他们全杀了。结合之前Alex说的话,我们可知,你现在就是人类和异魔的结合体或叠加态(大概像阿玛雅那样),是人类和异魔之间的桥梁。让你做出选择,实际上就是让你选你要成为异魔还是人类。可是有一点我不理解:为什么我还能在空间站上见到Alex?结合之前的闪回的动画来看,我可以大胆假设:整个游戏其实都是根据摩根的思维构建出来的“想法”,你其实一直都被固定在床上,地球早就被入侵了,而你也早就因为体内注入了过多的风暴异魔物质而成为了这种结合体。结局处那句“I’ve been always kept this dream”似乎也能从侧面映证这个真相。这种欧亨利式的结局又给游戏增加了艺术性。 游戏开头的几个电车难题测试其实就是在暗示玩家,这整部游戏就是一个大型的电车难题。只不过这一回,你不再是站在路边拿着变轨器的那个人,相反,你处于风暴的正中央;你也不仅仅是只能决定那个胖子和另外五个人的命运的人,你还能决定自己的命运、塔洛斯一号的命运,以及全人类的命运。传统的电车难题无解,但这一回,我认为它有且仅有唯一解:要延续全人类的生存。 总而言之这个游戏的剧情非常棒,打完也才40小时,如果只是过剧情的话应该只要一半的时间。相当于一本可以反复阅读的优秀小说。其实游戏和书和电影一样,所有的艺术作品都有这个功能——人们可以借助它们来认清自己。你会在不断的选择和思考中,发掘出你内心的样貌
On paper, this game looks great. Weapons, upgrades, talent trees, interesting premise, all of the ingredients for a "Bioshock type shooter story game" are there. But when you play it... Weapons are clunky and meh. Enemies are uninspired blobs, despite the story behind them. Characters are very bland and dialogue just ok. There's some pandering but it's barely noticeable. Talent tree is... Just awful. Most of the time you feel like you never have what you want. Movement is just, ...bad. Sluggish. It is a 2017 game, but Bioshock Infinite was 2013. Four years before. That should allow us to expect at least the same level of quality, but it's a far cry.
eto ptosto pizdec
One of the greatest games ever made. I sincerely hope there is a sequel. The end. :)
Overall pretty mid. Story and atmosphere are really good but it falls flat in the gameplay for me. It's like it is leaning into a RPG, FPS, Open World, Stealth, Crafting, Survival, Horror game all at once without committing to anything. Every mechanic feels frustratingly incomplete. There's only really 3 enemies and the weapons in the game are terrible. On normal difficulty it becomes a immersion killing 'resource management simulator' very fast. Half way in I switched to the easiest difficulty and sped run the main story because I was bored.
Great game. Unfortunately crashes every 15 minutes on PC between random crashing or "memory read" issues. Only negatively downvoting due to technical issues.
If you want to experience the absolute pinnacle of immersive sim design, look no further than Prey (2017). Arkane Studios didn't just make a game; they built a flawless, living, breathing sci-fi monument that respects the player’s intelligence like few other titles in history. To say I love this game from the bottom of my heart is an understatement - it is an undisputed masterpiece. From the breathtaking, mind-bending opening twist to the final moments, Prey grips you and refuses to let go. Talos I is one of the greatest settings ever realized in a video game. It’s an intricate, interconnected playground where every single locked door has five different brilliant solutions. Want to hack the terminal? Do it. Want to find a maintenance shaft? Go ahead. Want to shoot a foam dart from the Huntress Boltcaster at a touchscreen button through a broken window to unlock a security door? The game actually lets you do that. The sheer level of player agency and emergent gameplay is staggering. Every single Typhon form is a masterclass in sci-fi horror and design. The paranoia begins with the Mimics, making you look at a stray coffee cup or a duplicate office chair with genuine dread. But it evolves beautifully as you encounter the terrifying Phantoms, the haunting Weavers, and the relentless, looming threat of the Nightmare. What makes the Typhon truly incredible is how deeply you interact with them. Pulling up the Psychoscope to scan them in the middle of a tense encounter isn't just a mechanic - it’s how you piece together their fascinating, alien lore and unlock their incredible powers for yourself. It forces you to study your enemy, turning survival into a brilliant scientific pursuit. Pair that terrifying ecosystem with Mick Gordon’s sweeping, synth-heavy soundtrack, and you get an audio-visual atmosphere that is utterly unforgettable. And then, there is the Apex Typhon. When that massive, horrifying entity envelops the station, it shifts the game into pure cosmic horror. Peer through the glass of the Arboretum, and you can barely make out a colossal, haunting face shifting through the writhing mass of Typhon material. It is a moment of pure awe and terror. In a brilliant piece of mechanical storytelling, if you try to scan this god-like entity with your Psychoscope, there is no clinical data or new lore entry to save you - instead, your character is instantly overwhelmed with pure psychological terror, dropping your health straight down to 1 HP. It’s a chilling reminder of just how out of our depth we really are. The narrative depth, the impeccable pacing, and the weight of your choices create an experience that stays with you long after the credits roll. The fact that we don't have a Prey 2 is a genuine gaming injustice. The universe Arkane created is so rich, the mechanics so refined, and the ending so tantalizingly open for a continuation that the world desperately needs more. If you haven't played Prey, drop everything and experience it immediately. 10/10 - An all-time classic that deserves a legacy.
айзек кларк: Я УЖЕ ИГРАЛ В ЭТИ ИГРЫ!!!
modern day system shock. crazy fun. i understand its been almost a decade. however, the quality of games has been lost, sadly. *sidenote: dear gaming industry, please fire anybody who has agendas other than 'make a good game'. .. preferably out of a cannon... into the middle of the ocean.
Играл впервые и сразу на выживание и кошмаре.Один из лучших имерсив симов и лучший проэкт который аркейны сделали
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Pace estimated from the game's recent review growth (our daily snapshots) at its own sales-per-review ratio — a momentum signal, not booked sales.
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DAU/MAU are modeled from peak concurrent players (≈×8 and ×28) — Steam publishes no active-user counts, so treat these as rough estimates, not reported figures.
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Audience
Languages: English*, French*, Italian*, German*, Spanish - Spain*, Polish*, Portuguese - Brazil*, Russian*, Traditional Chinese, Japanese*, Simplified Chinese*languages with full audio support
Estimated from the language of this game's reviews — a proxy for where players are, not official Steam demographics.
Games most often reviewed by the same players — an audience-affinity signal from our review sample, not full ownership data.
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