Vampire: The Masquerade - Bloodlines

Moby ID: 15663

Description official descriptions

One morning, a seemingly ordinary inhabitant of modern-day Los Angeles wakes up and discovers that he (or she) is dead. Well, not exactly dead, but turned into a vampire - "sired", as the vampires themselves call it. Before the protagonist is able to reflect upon this new and unexpected form of existence, he is taken to a courtroom, where he gets acquainted with the Camarilla - an organization that preserves order among vampires. Apparently, the protagonist's sire turned him into a vampire without permission, so Prince LaCroix, the head of the Los Angeles Camarilla branch, decides to execute both. The hero's short vampire life would have come to an abrupt end if a mysterious person hadn't stepped in and convinced the Prince to spare it. The Prince takes responsibility for the protagonist from now on and decides to test his abilities, sending him to Santa Monica. Before long the new vampire becomes involved in a net of intrigues between powerful organizations and vampire clans and must choose his own place in this terrifying new world.

Vampire: The Masquerade - Bloodlines is based on the pen-and-paper RPG Vampire: The Masquerade. In the beginning, the player creates the protagonist, choosing between vampire clans, each with its own unique abilities and disciplines: Brujah vampires are suitable for melee fighting, Tremeres can cast spells, etc. In some cases the choice of a clan greatly changes subsequent gameplay: for example, Malkavians are insane and will therefore have completely different surreal dialogue choices; Nosferatu are so ugly that they can't pass for humans and will have to travel through underground paths throughout the game, etc.

The main character gains experience points only for completing quests, not for killing enemies. Many side quests are available during the course of the game. Experience points can be manually allocated to raise the protagonist's attributes, as well as improve various vampire feats. The player can make the main character stronger in combat, proficient in computer hacking or stealth, more powerful in vampire disciplines, more attractive, more intimidating, and so on.

Combat in the game is action-based. The protagonist can fight unarmed, use melee weapons and firearms, or employ special vampire abilities. Melee combat is viewed from the third-person perspective, but the view switches to first-person if the main character is using a gun. Blood is used to activate the vampire disciplines, working similarly to magic points in other games. It can be replenished by feeding on certain types of enemies.

The protagonist can also feed on innocent humans, though there are repercussions for that. The rules of the Masquerade forbid vampires to reveal their true nature to humans. Openly feeding on humans violates the Masquerade; five Masquerade violations lead to an instant Game Over. Feeding on humans with no witnesses present does not violate the Masquerade; however, killing an innocent human in the process alerts the authorities and causes the player character to lose some of his or her humanity. Losing too much humanity results in the protagonist becoming more and more susceptible to frenzy, eventually turning into an uncontrolled beast.

Many quests can be completed in different ways - brute force, stealth, diplomacy, intimidation, etc., depending on the preferred style of play and the main character's attributes. The player will also have to decide which faction the protagonist should side with throughout the game. Eventually, the player's choices will branch the storyline, leading it to one of the five possible endings.


  • 吸血鬼:避世之血族 - Chinese spelling (simplified)

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Credits (Windows version)

316 People (275 developers, 41 thanks) · View all



Average score: 81% (based on 48 ratings)


Average score: 4.2 out of 5 (based on 160 ratings with 14 reviews)

Ann Rice + Brian Lumley + John Carpenter = This Game

The Good
I bought this game from Gametap for 20 dollars. That was 5 months ago. I've been playing it every day since I purchased it. Its incredible.

You find yourself left in a City with little idea what is going on. You wander around and explore the city. You learn as you go by talking to characters who give you dialogue options. The choices you make impact the game play by giving you a benefit in one way or another.

If you were nice, you get cooperation from many characters. If you are mean, you'll make them angry and you may avoid getting interesting quests.

The biggest difference in play is the character you chose. A Noseferatu will send people running away screaming. A Toreador will seduce anyone and everyone. So you can play with the strengths of the characters to accomplish a multitude of things. Most of the choices impact how your character will do in future quests. You can intimidate or or seduce.

The Graphics are fine. The city areas are gritty and covered in graffiti. The characters are fully animated and responsive, courtesy of the Source Engine that powers it. Voice acting was consistently top notch, and added a lot to the game.

The sound is excellent. Many ambient sounds match the feel of their environment. Gunshots, sirens, People yelling.

The game levels were done with great care. Special notice should be given to the very spooky Haunted house and Chinatown.

But one of the star elements of the game was the music. It combined songs scored for the game and licensed songs from bands. Great stuff. Does a job setting the mood.

The fights are challenging because you need switch disciplines to win. Otherwise, you can't just shoot it out. Great story, and good characters make it a unique game.

The jokes and cultural references are everywhere. Cussing and swear words are the norm. This isn't a game for kids. The violence is over the top and very satisfying.

The Bad
Well, its more of a limitation of my hardware then anything else, but every time you load a game, the sound and video stutter for a good few seconds before it catches up. I found the load times to be fairly long and sometimes, the game would fail on on load.

The bugs were plentiful, but hardly a real problem. The physics engine was nice, but hardly necessary for the game play. I'm sure some would appreciate that the physics engine was applied in modelling the breasts of the women in this game. I found it a bit cheesy.

The Bottom Line
Great story B-Movie Vampire story wrapped up in a game. You can play it again and again to discover what different ways you can do things. Its easily one of my favorites.

Windows · by Scott Monster (985) · 2009

An extremely intelligent example of "postmodern entertainment"

The Good
Troika's "Vampire: Bloodlines" is a wonderful game, set in a present day city environment in Los Angeles. Within this quite realistically presented city exists a vast sub-culture of Vampires and all sorts of other, super-natural creatures entangled in a complex society of their own. The game's focus lies heavily on describing this vampiric society and culture. However, since Vampires have hardly more regard for humans than humans have for cattle, the two depicted societies ("real", "human" L.A. and "vampiric" L.A.) hardly ever mix, except when a "new" human gets in some way or another introduced into said vampiric sub-culture, which is exactly what happens to the player right at the beginning of the game.

With its approach of assuming two entirely different cultures sharing one physical space, this game succeeds splendidly at simulating the player's "newborn" feel - in a world he/she knows quite well ("Vampire"s L.A. is, after all, the L.A. from the movies) an alternate culture exists and has always existed - behind back doors, in shady bars or in secluded towers. Since this is the only culture the player is really allowed to deal with during the game, he/she will quickly get accustomed to it, accepting it as the actual "reality" - which quickly renders the regular "human" reality he/she knows of to appear less real than the fictitious one.

This is truly an elegant way to begin a game: "Vampire: Bloodlines" starts out with a world the player knows, only to have him/her then concentrate more and more on a world he/she doesn't know (yet) - a world entirely new. Apart from this intriguing starting point there are many things which are great about this game. This review shall now separately address technical, gameplay and content aspects.

  1. Technical

"Vampire"s graphics are impressive, probably not so much in themselves but because of the how and why of their usage. Graphics in "Vampire: Bloodlines" always serve one or more of three distinct purposes: their design reflects the personalities of people (e.g. Jeannette's room, the Nosferatu city, LaCroix' tower etc.), they build up a distinct genre background complete with an appropriate atmosphere (hotel, graveyard, Giovanni mansion etc.) and they are used as elements of contrast and conflict within the game world (the player's shabby apartment vs. LaCroix' salon, the Anarchs' "punk-bar" vs. the Tremere's hide-out etc.). This form of contrast is additionally used to violently shock the player as he/she penetrates harmlessly looking suburban homes just to find them filled with unbelievable horrors - a clever device considering the Vampires' own reliance on the "Masquerade", i.e. on hiding away from human perception. Moreover, all places in this game are superior in design and colouring. Together with the extremely detailed facial expression animations of characters they brilliantly succeed in bringing the game's world to life and tying the game's widely differing elements together.

"Vampire"s musical score goes hand in hand with this. Just as the actual game, it covers a wide variety of genre terrain (ambient, ethnic, orchestral, trip-hop, punk, industrial, gothic...) while still remaining "in tone" with the game's main conception of exploring an alien society.

Voice acting can only be described as excellent. It is not only very professionally executed, but serves the same three purposes attributed to graphics: characterization, setting a genre and depicting contrast. On the streets, people talk Al Pacino-like L.A. slang, LaCroix talks elaborately high-brow, Jack hilariously low-brow...these are not only voices meant to spare the player the abominable task of reading, they are actually well-acted and always "in character".

  1. Gameplay

As noted in other reviews, "Vampire: Bloodlines" is a real-time based 3D-Action-RPG similar to classics such as "System Shock 2" or "Deus Ex". It employs a number of RPG features such as different player characters, stats, experience points and numerous side-quests while offering the player a choice between shooting and sneaking during combat.

However, although this game boasts quite a few exhilarating fights (especially during the endgame), its focus lies clearly elsewhere. With its many intricate multiple-choice dialogues and its vast amount of side-quests designed to lead the player around its various, colourful settings, "Vampire: Bloodlines" is really a game of "social exploration" - its main aim is rather to find out about vampiric society than to follow its main plot, which is but a large "MacGuffin"-hunt anyway, largely created to make said society's innate conflicts escalate.

Moreover, the player is offered quite a lot of choices during gameplay. Interestingly though, these are not only limited to "moral choices" defining how the story will proceed (although these are present, too): in this game, a different playing style may unlock whole new aspects of gameplay including new characters, dialogue and quests. If one plays the game with a Nosferatu or a Malkavian character the entire game will appear to be completely different, however, even with one of the more "usual" characters gameplay may adapt drastically to a players choice of approach.

One example: when one chooses the talkative route to tackle the Giovanni mansion, one will get to know a number of characters to exercise one's social talents upon, one will be entangled in a very "Godfather"-like mafia intrigue game with the opportunity to make NPCs turn against each other. If, however, the player chooses to kindly inform the mansion's front door guard that he/she intends to kill everybody within the house, the game's transmitted genre will drastically change: the player will now have to face a plain white marble villa jam-packed with approx. 500 black-suited, heavily armed baddies all waiting to be killed - and these are simply not there if one picks the peaceful approach! Female NPCs which are of vital importance during the peaceful version of this scene will simply be omitted (probably fled through the windows) and the whole tone will be that of a John Woo action flick (seen "A Better Tomorrow II."?).

Thus, in "Vampire: Bloodlines" the player's choice may not only effect the outcome of a set situation like for instance in "Deus Ex", it may at times also decide whether certain plot elements or NPCs will "start to exist" in the first place. This is an interesting way to assign more meaning to the player: instead of always making NPCs boast at the player character's importance to make the player feel better, "Vampire: Bloodlines" does not only allow the player to cut through whole sections in whatever way he/she wishes - it even adapts itself to these wishes at times.

  1. Content

As already hinted at, this has to be one of the most postmodern games ever created - for a number of reasons. Due to its heavy reliance on quests rather than on a linear plot it's structure appears to be largely episodic. It's dialogue is not only extremely well written, but it's continuously tongue-in cheek, witty and ironic, even when dealing with the most brutal events and outcomes. Most important, however, is this game's playful approach to genre, "art culture" and to notions of reality vs. different kinds of fantasy.

"Vampire: Bloodlines" is highly infested with all sorts of allusions to all kinds of literature, movies, cultural phenomena and even present-day politics. These are not only extremely numerous - in fact, they're all over the place - but they also seamlessly range from their "lowest" (i.e. porn, splatter, snuff films etc.) to their "highest" respective forms (Scorsese, Hitchcock, Shakespeare etc.). Almost every genre is hinted at and played with in "Vampire: Bloodlines", shifting from witty screwball comedy to hentai in a split-second.

Most fun, however, is naturally had with the horror genre. Allusions, places and story elements include the classic "haunted hotel" setting, Cronenbergian visions of mutilation and "Body Horror", Hieronymus Bosch's apocalyptic vistas, George Romero's zombie slaughter-fests, Murnau's early German expressionism, mad scientists, serial killers, Victorian mad-houses, etc. etc. - it would be impossible to mention even a fracture of this department.

"Vampire: Bloodlines" gets successfully away with all this genre switching just because it fully dedicates itself to its own playful postmodernism - this game really declares constant, more or less radical changes of place, dialogue, style and atmosphere to be its main point of "unity".

However, apart from being playful, witty and ironic while dealing with its own, "fractured" design "Vampire: Bloodlines" effectively keeps itself from becoming a mere "guessing game" of popular/high culture simply because everything is executed so extremely well. The "horror house", for instance, is quite an obvious allusion to a whole set of movies - and yet it's still a frightfully effective horror level because of its intelligent build-up and some positively spooky graphics and eerie sounds. That's where this game really strikes a fine balance: while everything is presented quite ironically and with a lot of tongue-in-cheek humour, it's places are still seriously threatening, it's NPCs are still seriously interesting characters and it's plot-lines are still seriously engaging. Combined with all the allusions to various examples of the horror genre, it impressively shows that even the most corny and well known mechanics (flying books, bursting doors, howling wolves etc.) continue to be frightful if they're well executed - and, as already mentioned, this game features a masterful execution across the board.

Last but not least: this game almost academically addresses the elusive relationship between reality and fiction/fantasy - and in this context its postmodern means of quotation and allusion actually make real sense.

The motif of the Vampire already sets this game's main topic: since the late Victorian times of "Dracula", Vampires have always been regarded as an embodiment of exciting (and erotic) fantasy lurking behind an outwardly "normal" appearance. This employed contrast between a respectable, more or less reality-based "outside" and a fictitious "inside" which may be both frightening and fascinating at the same time has already been hinted at in this review and is used throughout the whole game.


Even the game's title implies the notion of masquerade, i.e. the veiling of one's true nature, and thus a dissent between "inside" and "outside". As already mentioned, the game begins with a reality shift in which a natural "outside" reality is more or less replaced by a super-natural "inside" one which also physically exists "inside": behind locked doors or in secluded apartments. This "vampiric" reality is, however, further fractured in itself and contains several additional divisions between "inside" and "outside": the different clans hide away from each other, different political fractions live in significantly different locations and outwardly "normal" NPCs may reveal their true, "monstrous" nature any minute.

The whole game, its plot as well as its settings, is filled with notions the treachery and unreliability of what's supposedly "real". Both the Camarilla and Prince LaCroix hide their true motivations. The Kuei-jin are actually shape-shifters with a more than elusive "outside", as is the game's final enemy. Jeannette has a split personality including a respectable, controllable "outside" part as well as an outlandish, exciting, but menacingly crazy "inside" part (both of which are in constant conflict and very hard to reconcile). A strip dancer turns out to be a Vampire killer, a church hosts a gothic club, a gothic club hosts the mafia, a snuff-film containing "real" killings is made with "unreal" (or "surreal") monsters which are hopping around various movie-sets...the list of "inside"-"outside" contrasts and uncertain realities to be found in "Vampire: Bloodlines" is just too long to be coincidental. In the end (at least in the ending I got) the "inside" of the main plot's "outside" sarcophagus everyone is rambling about (though its opening might actually end all life - again, the fascinating goes hand in hand with the threatening) is not revealed: in fact, it may be rather the players' and the various NPCs' shady fantasies than anything "real" which fills the sarcophagus' "inside".

By now it can easily be seen that "Vampire: Bloodlines" does in fact not only challenge the player's perception of "reality", but also his/her perception of the nature of the "fictitious", of "fantasy" - which can be both exciting and dangerous, even (or especially) at the same time. This is certainly one reason why this game contains so many allusions to both present-day reality and all kinds of different fantasies (i.e. all kinds of novels, movies etc.) from all imaginable "quality levels": it offers the player a kaleidoscope of our own world's immense chaos of varying and uncertain realities and of the often enough dubious nature of our fantasies (which aren't any less chaotic).

The city of Los Angeles is a somewhat final expression of that notion: it's just as much a real city as it is a "dream factory", and as a "dream factory" it does not only offer a vent for our pleasant, glossy "Hollywood" fantasies, but for all the uncomfortable and dark ones, too.

The Bad
Many minor negative issues have already been addressed in other reviews, so there is no need to address them again. It has to be noted, though, that most of the bug and loading-time related problems have been largely eliminated by now due to the numerous existing fan-patches and the more advanced hardware which is accessible today (reminds one of Origin-days, doesn't it?).

However, one can apply the same piece of criticism to "Vampire: Bloodlines" which one can apply to most postmodern art in general: for some people, it may well be too witty, too ironic, too varying in its atmospheres and places and, well, probably a bit too cold. "Vampire: Bloodlines" is often enough quite the contrary of a heart-quenching experience. No sir, in a game where one can play basketball with a severed human head and slap enemies silly with a severed human arm, emotional qualities are indeed bound to suffer.

All in all, "Vampire: Bloodlines" is extremely well-done, literally glows with style and intellectuality - and is probably more aimed at one's head than at one's heart.

The Bottom Line
Apart from some minor negative points, "Vampire: Bloodlines" is a great game in all respects. It features stellar production values across the board, it's gameplay is innovative and fresh and it's content is extremely witty, intelligent, "up-to-date" and - in the end - even thought-provoking.

It is a must-play for everyone who is interested in a 3D-RPG which is in the best possible way modern, moreover, it's simply a treat for postmodern blokes trying to find out just how many horror movies they've seen, as well as for anyone interested to find out more about the relationship between respectable "outside" realities and the ambiguous aspects of (wanted? feared?) "inside" fantasies. In this respect, it is not only a worthy contribution to the motif of the Vampire but also, in the original meaning of the world, perverse (lat. "perversio": a twist, a reversal).

Windows · by worldwideweird (29) · 2008

One of the best RPGs

The Good
Atmosphere, storyline, gameplay, immersion. WOW!!!

-I have a 1,4 GHZ with 512+128 mb ram and a Geforce card of 64 mb.
Worked fluently and was terribly beautiful!

  • the finishing of mode (creeping up behind someone to deliver an annihilating blow)

-the inventory description for the fireaxe item which goes along the lines of:

"A fireaxe, truely a tool of a madman. Who else would fight fire with a blade?"

The Bad
Some bugs, crashing to desktop, some other minor glitches. Do not think though this game is severely bugged. Not true.

Long loading times.Though they are worth it considering the environments it creates.

The Bottom Line
Slightly buggy, Graphics are absurdly slick for low requirements.
An RPG fan WILL at least 'like' this.
Fantastic immersion.
One of the better RPG's/ shooter/ whatnot.
100% worth its money (especially now it's bargain bin material)

Windows · by Jonaard Wijnmager (1) · 2006

[ View all 14 player reviews ]


Subject By Date
Sequel? Scott Monster (985) Sep 7th, 2015
Can't Stop playing this game! Scott Monster (985) Jan 4th, 2009
What kind of bloodsucker do you think you are? Slug Camargo (583) Oct 26th, 2008
Odd Vampire at Cafe? Indra was here (20633) Jul 31st, 2007
Werewolf part Donatello (453) Jun 20th, 2007


Bugs and patches

Troika did not learn its lesson from The Temple of Elemental Evil (see the trivia section). Once again, serious problems and bugs have been left unattended for too long, until a fan, dan_upright, jumped in with his own fixes in an unofficial patch. The releases of unofficial patches were then continued by Werner Spahl until most bugs were fixed. In the final two weeks of Troika's existence, several employees volunteered to help finish with patch 1.2.

Because of the "beta" state this game was left in even after patch 1.2. Several unofficial patches have been released for Bloodlines. There were two lines of fanpatches, the original "unofficial" patch by Wesp which does not only fix bugs, but also adds adds new weapons, disciplines, occult items, quest items, and action sequences, based on content left over from development hidden in the installed game files.

Another fanpatch, the "true patch" was started by Acrimonious and Tessera, previously known for creating nude patches for various games, on the forums with assistance by several forum members. It is intended to be a true patch to the official 1.2 version, only fixing bugs found in the original game or the official 1.2 patch. There was a huge flamewar between the Tessera and Wesp, eventually leading into Tessera shutting down his website.

Character creation

The game was supposed to have a fourth character creation mode which would enable you to add a history to your character rather than setting the various attributes by hand. It's still in the final version of the game although it's disabled by default. The choice of history has a large impact on the game, as it basically gives players a bonus effect in certain areas and a negative effect in others. Visit the "Tips & Tricks" section where the actual unlocking process is explained.


Bloodlines is the second game to use Valve's Source engine, after Half-Life 2. Valve did not want another game to display the new source engine prior to Half-Life 2, so when Bloodlines went gold on October 4, 2004, Troika worked on a patch that was integrated into the duplication master prior to shipping on November 16th. Work on the multiplayer was halted for some time during development, with the intention of picking it up later, which is what happened. However, the multiplayer gameplay never really came together and it was dropped a couple of months before shipping.

German version

In the German version, the decapitation during the intro was removed. The rest of the game is completely uncut.


  • In the beginning of the game, when you need to get the astrolite, look around the house on the beach. There is a game paused on the TV that shows one of the large monsters from in the sewers later on in the game along with a vampire who is re-loading an Anaconda.
  • When you use a pass card to open a hatch that leads to Nosferatu hide-out (after the long sewer dungeon), take a close look at the computer. On the right side, there is a message that looks very similar to the common Windows' "Fatal Error" screens. It says the following:


A fatal error has occurred. You should be panicking now. Your system will now explode. It is now safe to go to your happy place. Press any key to help others learn to read. Press Ctrl+Ctrl+Ctrl to donate money to me, you know the computers will soon take over, why fight it? * If you visit Mercurio just before the final showdown you will learn what exactly Camarilla (one of the factions in the game) thinks of Troika Games' leading developers. * After you find the man beheaded in the building across the Last Round bar you might want to take his head and try to score in a nearby basketball ring. If you do so the applause will be heard. * The song that briefly plays near the end of the quest "The Ghost Haunts at Midnight" at the Ocean House Hotel is "Pilots" by Goldfrapp from their debut album Felt Mountain.


  • There are a number of references to find throughout the game; many to movies. One is the book "the art of the quickdraw by Ned Nederlander". Ned Nederlander is the character played by Martin Short in the movie The Three Amigos, who is said to be the fastest draw in the world.
  • One reference in the game is when you talk to the food critic in Hollywood. If you are Malkavian, you can convince him that he is eating maggots. This is a reference to the movie The Lost Boys, in which a group of teenage vampires convinces a man that the rice he is eating is actually maggots. When you speak to the food critic and convince him, there is even a line of dialogue saying how that "happened in a movie once".
  • In Hollywood, look at the commercial above Isaac Abram's jewelry store. It says: "Play Troika Games!". Troika is the developer of this game.
  • During your computer-hacking side-quest (received from the computer geek at Nosferatu hideout), you'll come across the password Gil Bates. Gil Bates is one of the central characters of Arcanum, another RPG by Troika. On the other side, Gil Bates himself is a parody on... well, you figure out that one.
  • The NPC Romero, whom you meet at the cemetery in Hollywood, is named after George A. Romero, the father of the Zombie movie genre. Why? You'll have to accept Romero's quest in order to find out.
  • Another NPC, the Nosferatu hacker Mitnick, is named after Kevin Mitnick who in the early to mid 90s was one of the most notorious and wanted hackers in the US.
  • The news broadcast that can be heard when switching on the TV in the the player's haven contains a reference to famous horror author H. P. Lovecraft. The anchorman speaks of a squid-like creature found at the shore of Providence, Rhode Island. This is an obvious nod to Lovecraft's birthplace and his Cthulhu myth.
  • Some time later in the game you might learn from the TV a shocking news of EU collapse. Quite interesting is that the end of EU was one of the reasons behind the nuclear war in Fallout, game developed by Black Isle, the former employees of which constituted the major part of Troika Games.
  • If you hack in to one of the computers in the Internet Cafe, you'll find a reference to the "Chocula" clan. For those that don't know, "Count Chocula" was a cartoon vampire spokesman for Chocolate cereal.
  • In most of the dance bars, you'll see a dance icon. The symbol is pointing gesture made famous by John Travolta in the movie Saturday Night Fever.
  • This game is highly infested with all sorts of allusions to all kinds of movies. Clan Nosferatu's network system "Schrecknet", for instance, hints to German actor Max Schreck who played the original Nosferatu in the ground breaking German silent movie Nosferatu - Eine Symphonie des Grauens (1922) by Friedrich Wilhelm Murnau . This is even more interesting because Clan Nosferatu's whole look is heavily influenced by Max Schreck's outfit. Could he have been the first Nosferatu? Check out Merhige's Shadow of the Vampire (2000) and judge for yourself...
  • An easier one of many literary half-quotes to be found in Vampire: Bloodlines: The quest received right at the game's beginning "Wherefore art thou Mercurio" is obviously derived from the more famous original "O Romeo, Romeo! wherefore art thou Romeo?" (Shakespeare's Romeo and Juliet, Act II., scene 2). Note that one of Romeo and Juliet's main characters is appropriately named Mercutio.
  • Look for this pop culture reference during Phat Larry's side quest. In the parking garage, you overhear two thugs talking. "Do you like John Woo? Bullet in the head, son!" The other thug responds, "I don't get it." John Woo, is arguably Hong Kong's most famous director. With films such as, The Killer, Hard-Boiled, and Bullet in the Head.
  • In the arcade over at the beach, there are three games: Pitfall, River Raid, and Call of Duty. They were all released by Activision as is this game. In fact, an emulator was in the works so you could play River Raid and Pitfall, but it was eventually dropped due to time constraints


A release exclusive to Best Buy included the following soundtrack: 1. Bloodlines - Ministry - Come Alive - Daniel Ash - Cain - Tiamat - Swamped - Lacuna Coil - Isolated - Chiasm - Needle's Eye - Die My Darling - Pound - Aerial2012 - Lecher Bitch - Genitorturers - Smaller God - Darling Violetta - Swamped (Video) - Lacuna Coil


  • 4Players
    • 2004 – Best PC Role-Playing Game of the Year
    • 2004 – Best PC Story of the Year
  • Computer Gaming World
    • March 2005 (Issue #249) – RPG of the Year
  • GameSpy
    • 2004 – Best Level of the Year (PC) (for the Ocean House Hotel)

Information also contributed by Apogee IV, Boris Stovich, Little Yoda, MasterMegid, Scott Monster, SimonG, St. Martyne, tata_lu_stefan_cel_mare, Terrence Bosky, Unicorn Lynx, worldwideweird

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Contributors to this Entry

Game added by HandofShadow.

Additional contributors: Unicorn Lynx, Jeanne, Sciere, SGruber, Patrick Bregger, Infernos, BlaringCoder.

Game added November 27th, 2004. Last modified August 31st, 2023.