(Originally published to Glitchwave on 10/19/2024)
[Image from glitchwave.com]
Condemned: Criminal Origins
Developer: Monolith Productions
Publisher: Sega
Genre(s): Action Horror
Platforms: Xbox 360
Release Date: November 16, 2005
Many horror video games have a tendency to wear their influences from horror media outside of their medium on their sleeves, and Condemned is just as transparent with its inspiration. Whereas Silent Hill is greatly influenced by Jacob’s Ladder and Twin Peaks and Deadly Premonition is influenced by…also Twin Peaks, Condemned takes a whopping amount of its conceptual identity from David Fincher’s acclaimed neo-noir mystery thriller Se7en. This comparison becomes readily apparent by the introduction which details a squad of police officers tailing a particularly crafty and elusive serial killer suspect. Ethan Thomas, the protagonist, chases the suspect through the hallways of an abandoned business building with his fellow lawmen to catch the psychopathic menace. Alas, even when they’ve cornered him up against a wall, the perp still gets the better of them when he snatches Thomas’ gun and shoots the protagonist’s partners dead on sight. When Thomas hazily awakens from this failed ordeal, he’s shocked and offended that he’s now a wanted man himself. Because the fired gun that killed the two other officers was his, Thomas’ precinct believes that he’s the one committing all of the heinous homicides, disgracing him from his law enforcing position. Even though he’s been disbarred, Thomas proactively still searches for the cunning killer who framed him not only to detain a wild homicidal maniac but to prove his innocence. Even from a distant, vicarious point-of-view as the player, I was as equally appalled by this unfortunate set of circumstances that Thomas found himself in. How did Thomas’ superiors come to this conclusion? Weren’t they the ones who dispatched the three men to the scene after intercepting suspicious activity from their suspect? Is it entirely out of the realm of possibility that the killer on the scene overwhelmed their unit considering they’ve had such a struggle to apprehend him? Are they that desperate to pin the murders on anyone at this point? Sure, letting the perp steal your weapon isn’t medal-winning police work, but they sincerely believe that Thomas has revealed himself as the serial killer through this event. Unless a conspiracy is involved, this precinct is downright incompetent. No wonder their city is in shambles. I never thought the initial resonating emotions in a horror game would be confusion and outrage, and those feelings still persisted as Condemned progressed.
One silver lining regarding Condemned’s haphazardly convenient conflict devices is that Thomas’ pursuit of the true culprit by himself situates him in a place of isolation. Solitude intertwined with the horror genre is an especially effective pairing, and the atmosphere of acting alone is where Condemned thrives. Judging by the ever-present dilapidation of Metro City’s streets and architecture, the area has fallen victim to a litany of unresolved strife and societal malignancies of both the domestic and governmental persuasion. Condemned’s environment is so battered and torn that it’s borderline apocalyptic, even though the existence of an active police department connotes that the establishments of democracy are still active forces in this society. Still, every single sight seen around the city is idly festering in filth like a rotting corpse, an extremely effective depiction of urban decay at its zenith point of destitution. Wherever Thomas finds himself en route to the killer’s location, only the minor setpieces of the specific setting will give them their discernibility, such as the terminals of the metro station or the bookshelves in the public library. Otherwise, the total flatlining of morale or functionality essentially places all of the game’s locations on an equal scale of death-like sterility. Oftentimes, the floors of these once-active communal areas will simply cave in at what seems like random occurrences. Truthfully, it's a sequenced way for the game to provide progress, but the player can rationalize these shortcuts because the foundations of each building are so frail and damaged that it's a wonder how the roofs don’t collapse on Thomas. Traversing through the widespread decrepitude of Condemned’s city with its soiled setpieces is effectively stifling. Parallels to the grimy aesthetic of Se7en are a given, but Condemned’s atmosphere is also reminiscent of Half-Life 2’s environmental debility and Silent Hill’s brooding loneliness.
While I’m on the subject, Condemned’s primary influence in terms of its fellow titles in its medium is transparently Half-Life 2. The journey through a miserably broken urban landscape is one apparent facet from the then-newest contender for all-time gaming greatness, and the linear level designs per setting around this city is yet another aspect that Condemned borrows from Valve’s magnum opus. One might also note that the shared first-person perspective is a commonality between the two games, and the intimate view certainly allows the player to clearly see all of the filth in its feculent glory. However, one’s assumption that Condemned’s choice of viewpoint is fitting for a first-person shooter similar to Half-Life would be sadly mistaken. Instead of abiding by the usual conventions of sticking a gun in the player’s limited line of sight, Condemned emphasizes melee combat. Strewn around the urban wasteland are a number of discarded tools that can now be used as blunt objects for Thomas to defend himself from the terrors that crawl out of the advanced darkness. Several of these melee weapons are classic offensive items such as the fire ax and shovel, while others see Thomas utilizing common, typically innocuous objects like a locker door or a plank of wood in a makeshift fashion. The more pronounced items listed in the former section also have a secondary, situational purpose whenever Thomas finds a specific obstacle. The crowbar will pry open safes, the shovel will skewer gates locked by unknown passcodes, and the trusty fire ax will pierce through the wood of a doorway with little strain. How the player couldn’t easily decimate the door with the sledgehammer doesn’t seem logical to me but alas, the developers will always have Thomas channel his inner Jack Torrance in these instances. Sure, an assortment of guns are also scattered about on the ground such as revolvers and shotguns. However, anyone expecting them to support their playthrough as a crutch will be disappointed, for the amount of ammo in these firearms never exceeds the number of fingers on one hand. It’ll be too soon before Thomas will have to resort to pathetically pistol-whipping enemies with the blunt impact of a rolled-up newspaper. I admire Condemned’s unconventional choice of combat while using a first-person perspective, and the stats between the wide range of melee weapons at the player’s disposal showcase a genuine depth relating to the gameplay.
However, simply because I’m commending Condemned’s combat for its subversiveness doesn’t mean that it’s a standing ovation. The enemies that Thomas will be inflicting fatal blunt force trauma to are the city’s forsaken citizens. Whether they are the victims of a total lack of economic prosperity or are the products of an extreme crack cocaine epidemic, the damned denizens of Metro City are a feral, hostile bunch fitting for their destitute surroundings. The hobo variants located around each corner of the city’s blackened back alleys remind me of the splicers from BioShock, mentally maliferous malcontents with only a handful of brain cells, and at least two of those precious cognitive units are focused on both maintaining their ruptured speech and their desire to kill Thomas. Their methods of bushwhacking the protagonist are an identical match to the player’s mode of combat, grabbing a pipe or a conduit off the wall and swinging it vigorously at Thomas’ head. Whenever these enemies enact the same sort of combat, the duel introduces the defensive side of Condemned’s gameplay. Thomas can block the concussive blows from the Metro City vagrants, provided he can execute the timing needed to perform this defensive maneuver. When performed correctly, the interception will put the crazed ghoul in a daze for a brief period, leaving Thomas with a golden opportunity to whack their brains out. This defensive element to Condemned’s combat greatly raises the skill ceiling, incentivizing the player to practice the exact timing needed to reject damage. A precision-based mechanic is all fine and dandy, and there is a real visceral oomph to every pummel that Thomas delivers, especially in the execution finishers he performs when an enemy is on its knees groveling at his feet. However, I still have some qualms pertaining to a few factors of Condemned’s combat all the same. I would argue that the timing on the blocks is a tad imprecise, but the player soon acclimates to the game’s rushed tempo through frequent encounters. However, it’s whenever the enemies mislead Thomas pretending to reel back a hit just to cancel and dupe him, leaving Thomas vulnerable because of his miscalculation. Sure, this is a tactic that a combatant would realistically employ, but answer this question: would a rhythm game ever think to obscure notes/tabs from the player because they wouldn’t realistically know how to play the song? I hope not. The player will always suffer whenever the enemies outsmart them, which I believe is an unjust way to punish the player for learning and adapting to this mechanic. Fortunately, Condemned provides plenty of aid if the player is cheated one too many times. Health kits that replenish two-thirds of Thomas’ maximum health are commonplace, and Thomas’ taser is the consistent trump card the player can utilize if they struggle with the tense tango of fighting.
The third type of gameplay that Condemned bestows is arguably the most narratively relevant, yet the least stimulating. Lest we forget in the wake of hundreds of subdued crackheads that Thomas is (or was) a professional detective, and he plans to track the whereabouts of this serial killer as he would if he weren’t a fugitive even if this act of subordination is digging the hole he’s already in even deeper. Every few yards on the field, Thomas will encounter a piece of evidence that could be vital to tracking down the murderous maniac. Being in the immediate presence of a clue will be signaled when an indicator appears on the screen, and then Thomas swaps his current weapon to whip out the appropriate gadget. A camera exposes the prints of both footsteps and finger touches, while a UV light machine gathers DNA from bloodstains. Traces of both types of evidence samples are then extracted at their source through the zooming of a digital camera or an infrared gun. Thomas also carries a device that locates the source of particularly odious stenches, but this seems to only take him towards a nearby dead crow collectible which has zero impact on the case at hand. After examining the evidence, the context is relayed through Rosa, the bureau official sticking her neck out for Thomas by collaborating with him on this vigilante mission. As refreshing as this contextually sensible mechanic is in this game, it isn’t all that engaging from a gameplay standpoint. Aiming the devices at the target every so often isn’t exactly on par with the excitement of smacking lunatics across the skull with the top of a school desk. Really, the true reason why Thomas signals Rosa on his cellphone is so she can explain the context behind what was gathered up for the player. The only instance where the detective gadgets are utilized for something invigorating is following the trail of cryptic messages the killer lays out for Thomas at the country home, and getting closer to what they want Thomas to find instills an uncomforting feeling of suspense. Still, noting this section as a highlight is probably an indictment of the game’s pension for linear levels more than anything else.
No matter how many vials of blood or fingerprints Thomas collects and analyzes, none of his findings will result in the unfolded story making a lick of fucking sense. That plot catalyst that drove me up a wall in the beginning only doubles down on its nonsense as the story progresses. Thomas soon finds that the man he’s attempting to track down is no ordinary serial killer: he’s a righteous Robin Hood serial killer whose modus operandi is killing other serial killers, and he’s been cleansing the streets of Metro City’s most dangerous residents for quite some time. Yes, this aired a year before the popular television series with the same premise, so Condemned was evidently an interactive trendsetter that doesn’t receive its due credit. The clues lead Thomas to find that his target’s next victim will be Carl Anderson, also known as “The Torturer,” who inflicts so much physical and psychological torment on his prey that it drives them to commit suicide. Thomas feels a ridiculous conflict of ethics having to save this sadistic psychopath from his person of interest, but his efforts are ultimately futile when he finds Anderson dead in the country house propped up like one of his victims. Thomas is knocked unconscious by the perpetrator and dragged further into the countryside to a farm. Thomas evades his fate when his new friend Malcolm Van Horn interferes. He commits the act of deus ex machina not only to save Thomas but to prevent his nephew Leland Van Horn, the legal name of Serial Killer X, from performing another gruesome act in the name of his own morbid sense of “justice.” At the game’s climax, Malcolm successfully captures his nephew and begs Thomas to show mercy towards him despite his horrific crimes. Oops, I shot that sick fucker between the eyes without a second thought. Whether or not the player decides to pull the trigger, Leland dies anyway from blowing his own brains out. Besides, it will result in the same ending where Thomas meets Rosa for coffee only to find out that she’s wearing a wire working for the bureau to arrest Thomas. Their persistence in capturing Thomas after all these events borders on a Kafkaesque level of absurdity.
There is another thematic element to Condemned’s story implemented to make the developer’s intentions with this plot easier to swallow. However, all it does is turn the patchy story into a downright brain-dead clusterfuck. By the fourth or fifth chapter, Thomas will start experiencing hallucinations where the screen turns a staticky gray, and monstrous apparitions will bombard Thomas momentarily. These hallucinations will eventually manifest as the game’s final boss, who looks like if a cenobite trained in the martial art of kendo. The game closes on a shot where Ethan is writhing over a public bathroom sink as the spirit of the final boss apparently seeps into his essence from behind and transforms him into a beastly terror as the game’s closing shot. The “Oro Dark Primary” is the spiritual embodiment of the evil that dwells in all mankind, and it apparently has prime real estate here in Metro City considering the area is rife with serial killers. Displaying Thomas’ inner demons with these sequences gives the player an impression that this lawman is deservingly disgraced, for he’s as wicked as the suspects that he hunts down. Serial Killer X does state that he’s been “following Thomas’ work” for many years, which is another hint that he’s a twisted bastard behind the badge. I’d like to think that anyone with the cognitive capacity to count to ten would reject this revelation. We know firsthand that Thomas is a victim of mistaken identity upon witnessing Leland shoot his cop buddies, so he’s totally clean of that sin. The game gives no indication that Thomas has ever killed for pleasure, so what other murders would he be talking about? Is he suggesting that Thomas has murdered more people throughout the game in self-defense and this is an instance of the hypocritical pot calling the kettle black? Is it a comment on the justification of police brutality? No, it’s a stupid, failed attempt at a twist with a story that already went sour at the start, and this contrived, metaphysical dogshit only makes the stink of a bad plot reek like an open sewage vent.
Condemned: Criminal Origins is a flawed game in a myriad of aspects. The enemy AI’s cleverness is laudable in theory, but I still believe that it’s fundamentally unfair to catch the player off guard during combat and swiftly reprimand them for having a lack of psychic premonition. If I even humor thinking about its dumb, crackbrained plot again, it’s going to give me a migraine. Still, despite the fact that its flaw spurt out of its pores like a pus-filled zit, it displays an impeccably grim and claustrophobic atmosphere that will strike dread in the player incomparable to most of its peers. Given that Condemned was released right before every game was depicted in this viewpoint, the gameplay and plot could’ve been put under the knife by another IP and awakened anew as a prominent trend in first-person video games. Sadly, it was too daring to take on as a lark, so Condemned unconventional nature remains as unique as it once was. It’s not too late to experience bashing in the heads of drug-addled goons with plywood, even if the one game that revels in this prospect is faulty at best.
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