Half Life, but in Russia, with the serial numbers filed off. The world's first AAA solo-dev indie game. A stunning Eastern European homage and parody of the golden age of non-milslop first person shooters of the 21st century's first decade. Vlad is a former security forces officer, now a prisoner of a tyrannical regime, that utilizes its status as a glorified penal-slave state, for various metaphysical experiments. Vlad is chosen to be the man who pulls the lever on a device that, uhm, certainly does something. It is essentially the plot of Half Life 1 and 2, mashed together at full force with relentless, reckless abandon for taste. The end result, a surprisingly... great game, for what it is. No, scratch that, it is out right a great game that is rough only in its lack of polish. Remarkably, Vladik Brutal is both a political satire, tongue-in-cheek romp that is incredibly derivative of other pieces of media... as well as a strangely inspired and tremendously Russian cultural product. Truth be told, this game has the same energy and love of the goldsource engine mod, the ever infamous Paranoia (a predecessor and little brother to both STALKER and Metro) and its stand alone sequel, Paranoia 2: Saviour. In fact, unsurprisingly, there are some shared assets and animation between the two and obviously, Paranoia 1 and 2 was a tremendous influence on the game. Vladik Brutal is exactly what you expect it to be. It feels like an unfaithful remake of the Half Life saga on an engine just marginally better than Source. For whatever reason, I had more fun with this game than Atomic Heart (and I love and adore that game), simply because Vladik Brutal never overstays its welcome and its ultimately, a very rewarding experience despite some repetitive mechanics. At the end of the day, it is GMOD realism meets Brutal Doom meets Gmod horror maps meets Metro, STALKER and oddly enough, some elements from Far Cry. All of this comes together incredibly well, in a stitched up, "Metro 2033 .50 caliber trench lighter made by a Nazi from Latvia on Etsy" sort of way. Bravo, honestly. The game at times, has some incredible atmosphere, fantastic use of liminal spaces, some extremely solid visual design and a top tier soundtrack. The shooting itself is actually closer to Cyberpunk 2077 than some would admit, and one of the bosses, Assassin, is clearly inspired by the beloved Oda boss fight from the same point of origin. Many will critique the story and already have, but this game is actually kind of interesting in what little is delivered through the surprisingly competent voice acting. Sadly, a lot of the cheekiness is lost in translation and the humour is less absurd and not full on "Grezzoduo 2" tier cultural grifting, but it is anything but lazy. Vlad is a protagonist who borrows a lot of his appearance and aesthetic from the main character of the famous Russian mob films, Brother 1 and 2, by Aleksei Balabanov. Vladik himself is very literally a sort of self insert mixed strongly with the cultural spirit energy of the late and great Sergei Bodrov Jr, as the character Danila. The entire game is full of cultural iconography, from the bratva criminal prison tattoos on the player's hand, to the calming post Soviet synthpunk, Molchat Doma-esque soundtrack additions, complete with triumphant Mick Gordon metalcore themes for bosses, to the absolutely stunning utilization of original and store bought assets to bring an industrial, familiar communal urbanility to several instances. In my opinion, the game is at its strongest when Vladik is in between Khrushchevka apartment complexes, firing a variety of classic firearms (the Half Life 2 Revolver, a modernized Kalash rifle, Danila's sawn off shotgun) at the tyrannical government's metropolitan police forces, AKA the not-Combine, as well as gorka-wearing Spetsnaz and a vaguely SAS coded variant of troopers. These set pieces would be dull in any other game, but the developer really made them sing in pure melancholy, the decayed walls with several layers of stripped paint, the rusted, archaic but functional and still competent Soviet railway system, a Paranoia-esque fight with a Hind (twice) and an extremely Orthodox-Christian train station that could double as a cathedral... only for the final location to be a pseudo-Kremlin/HL2 Citadel with a reactionary neo-Soviet theme. And the president? Of course, its a youthful looking, sort-of-Gorbachev. While some liberals applaud the existence of a liberalized Russia, many Russians resent Gorbachev and believe, rightfully so, the dissolution of the USSR lead directly to rampant gangsterism, the hungry 90s and the current oligarchal power structure, all at great cost to the average person. For everyone else, the end of the USSR was something to celebrate, but those same countries have also decayed into dictatorial power spheres of increasingly minor significance in the world and have tasted the full ♥♥♥♥ in the mouth that is the liberalization of the market. But alas, this system is the only one that allows a game like Vladik to exist. It should be noted, all things in this world are nowadays, especially without the continued existence of a Soviet megastate to offer an alternative in a multi-polar world, for the explicit purpose of profit. Games, as "art", are much like movies and books, in that anything truly "artistic" from their modern production lines are nearly accidental, in how they were allowed to exist. Slop consumerism and the slop-to-your-game-shelf slopline has no interest in art, and yet, individuals will still come together, against crushingly dire odds and lack of finances, to do their own hand at a Half Life or Bioshock clone. But Vladik Brutal deserves applauds for not wanting to be art, or even trying to be. Instead, it is more artistic as a result. A game with stunning presentation, fun gameplay and yet, apathetic about its own originality at times. The game mentions is inspirations by name and doesn't just wear it cautiously on its sleeve. The developer knew this would never be the next Call of Duty and thus, he was granted freedom to make something with his own heart and soul and honestly, it found the right people. That is when art is at its best. When it finds its right people and you can sit back and truly enjoy something for what it is, a game. And that is what Vladik Brutal is great at being, a game! Its hardly subtle, but it also has nothing to be subtle about. For one, this game is actually a sequel. In the original Vladik, the antagonistic president that preceded the current one, was literally Navalny. Yes, that Navalny. The game can be jarring at times. Sometimes you get a few slop-missions of half hearted horror (I think the first third of the game is worth marching through, when you get into the urban combat and environments of the rest of the game, it REALLY shines), only to have a surprisingly genuine cutscene and character interaction. About 30% through, the game really gains its legs and never stops running. It only takes a breath to give the player some ample time to breathe and take in the atmosphere, to great success. By the end, we see arguably, one of the best renderings of a modern, Eastern European war zone and small, infantry and partisan driven urban warfare. And the best part is, you get to launch several black holes at it and partake in the chaos. Personally, I would love to see this developer take on a fully serious, grounded shooter sometime. I really think that we could be looking at someone who could be the Aleksei Balabanov of affordable, excellent indie games. The fact this was made by mostly a single person is an absolute, utter achievement. The video game equivalent of Black Metal being further revolutionized by Varg Vikernes' homebrew, solo-musician Burzum project, only to directly contribute to what would be the best albums by Darkthrone and Mayhem. Have any hesitation for this game? Don't! Embrace slavjank!