Hellgate is a strange game for a number of reasons. First of all, it’s a weird amalgam of singleplayer and massively multiplayer. You can tackle its main quest alone, or you can band together online.
Secondly, many of its side missions and locations are randomly generated. You might set out for the British Museum to pick up a sacred artifact but discover a portal to another dimension down a drainpipe. Finding these random side-missions is part of Hellgate’s thrill: knowing that in a few seconds, you’ll be showered in special loot.
Hellgate creates a gorgeous first impression. You begin alone and abandoned in a side-street. The city is wrecked: empty shells of buildings and their basements are pockmarked with glowing larval markings. Weird blimp things roam the sky. Ahead, zombies shuffle. And then you move. And Hellgate’s fundamental problem becomes clear.
Of Hellgate’s six classes, two are clearly designed for twitch FPS players: the marksman and engineer. The problem: shooting in Hellgate feels like directing a hosepipe. When you play as these, there’s little sense that you’re shooting a gun. There’s no kinetics, no feedback.