Phantom Fury

Phantom Fury is a first-person action shooter set in a cyberpunk and dark sci-fi rendition of North America, notably in the city of Chicago. Players assume the role of a female cyborg protagonist, operating within the Bombshell universe, utilizing various weapons and a bionic arm to battle a range of challenging enemies, with the implied goal of saving humanity.

Phantom Fury: A Cross-Country Carnival of Chaos and Compromise

The landscape of retro-inspired shooters, affectionately dubbed “boomer shooters” by a new generation, has become a vibrant, if sometimes crowded, space. In this burgeoning genre, 3D Realms, a name synonymous with the golden age of the FPS, stands as a torchbearer. Its 2019 release, Ion Fury, built on a modernized Build Engine, captured the blistering pace and irreverent spirit of its 90s ancestors. Now, in 2024, Shelly “Bombshell” Harrison returns in Phantom Fury, a title that attempts to leap from the 2.5D sprite-based past into the early days of 3D. This review will delve into whether this ambitious sequel successfully navigates its generational shift, or if it succumbs to the considerable weight of its own inspirations, ultimately offering a mixed, albeit occasionally exhilarating, experience for genre enthusiasts.

Development History & Context

Phantom Fury‘s genesis is rooted in a fascinating, if somewhat convoluted, lineage within 3D Realms’ revived stable. Developed by Slipgate Ironworks (formerly Interceptor), 3D Realms’ internal development studio, and with additional involvement from Daniel Hedjazi’s Phoenix Game Productions, the game is a successor to 2016’s Bombshell and 2019’s Ion Fury. This latter title, lauded for its Build Engine authenticity, set a high bar for speed and chaotic gunplay. Crucially, Phantom Fury marks a significant departure from its immediate predecessor, moving away from the Build Engine to Unreal Engine 4. This engine upgrade signifies a conscious choice to emulate a different era of FPS history: the late 1990s and early 2000s 3D shooters, with Half-Life and SiN frequently cited as primary inspirations.

The development team, comprising a mix of seasoned veterans and new talent, including original 3D Realms developers like Chuck and Dirk Jones, aimed for a “retro visual style, while employing several modern features and characteristics as well.” This vision was previewed with a train level demo at Gamescom 2023, and later released on Steam, giving players an early taste of the new direction.

Phantom Fury arrived on Windows, PlayStation 5, and Xbox Series on April 23, 2024, priced at $24.99 USD. Its release was set against a backdrop of ongoing development for Ion Fury: Aftershock (developed by Voidpoint), highlighting 3D Realms’ commitment to its diverse “Bombshell universe” across different studios and technological approaches. However, as some critics noted, the shadow of potential financial tumult surrounding Embracer Group (parent company of 3D Realms and Slipgate Ironworks) may have subtly influenced the game’s final state, raising concerns about polish and scope that mirror historical “development hell” stories, including the infamous Duke Nukem Forever. The ambition was clear: to deliver a story-driven FPS with strong interactivity and intense combat, all wrapped in a road movie structure across a cyberpunk/dark sci-fi America.

Narrative & Thematic Deep Dive

The year is 2101, a future shaped by the dire aftermath of the Tempest Rising conflict, leaving the world an “environmentally devastated, mutant-infested mess.” It’s a “Crapsack World” where Jadus Heskel’s radical transhumanist ideology found fertile ground. This grim setting provides the canvas for Shelly “Bombshell” Harrison’s latest adventure. She awakens from a lengthy coma, her arm replaced by a bionic prosthetic, at the behest of an “old colleague.” Her mission: to secure the legendary “Demon Core,” a highly dangerous artifact, before a traitor within the Global Defense Force (GDF) can seize it for nefarious ends. This sets Shelly off on a cross-country “road trip plot” across the USA, from Albuquerque to Chicago, ostensibly to “overcome her own past to save mankind’s future.”

Shelly Harrison herself is presented as a female “Duke Nukem expy” – a “generic badass lady” with “deadpan bravado” and a penchant for “one-liners.” However, critics observed a distinct tempering of the overt sexual overtones and “aggressively juvenile” humor found in Duke Nukem 3D and even Ion Fury, making her a “tamer and chaster” protagonist. While some reviewers still appreciated her “smug quips” and “lightweight fun,” others felt she was “not as spunky as we remember her to be,” and that the “make the protagonist a lady” approach didn’t inherently subvert the underlying “retrograde machismo” of the plot. The overall narrative is often described as “B movie writing,” “action movie nonsense,” or simply a “laughable story” that is “uninteresting” and “obtusely delivered.”

The game’s primary antagonists are deeply embedded within Shelly’s initial support system. Colonel William Greywater, her “old colleague” and initial quest giver, is eventually revealed as the true “Big Bad,” manipulating Shelly to acquire the Demon Core for his own “Social Darwinist utopia.” This “Treacherous Quest Giver” trope is further complicated by Dr. Sarah Crawford, an admirer of the nefarious Jadus Heskel, who ultimately becomes the game’s “Final Boss,” piloting a giant mech against Shelly. The game’s overarching theme of “Armies Are Evil” also comes into play, as the GDF, Shelly’s own organization, is vaguely declared “completely corrupt,” even after Greywater’s defeat, leaving Shelly with a broader objective to dismantle it.

Adding layers to the “Bombshell universe,” Phantom Fury engages in “Canon Welding.” John Blade from SiN makes an “Early-Bird Cameo” towards the finale, appearing as an old friend of Shelly’s. This directly ties the game’s events to the SiN universe and establishes Phantom Fury‘s place after Ion Fury: Aftershock but before Bombshell (which was itself a prequel to Bombshell). A computer log even hints at a character from Killing Floor (Kevin “Patty” Clamely) and a hack into GDF systems by “HardCorps” from SiN, showcasing a deep intertwining of 3D Realms’ IPs. While these connections enrich the lore for dedicated fans, the main plot is largely seen as functional at best, a flimsy excuse for the relentless action.

Gameplay Mechanics & Systems

Phantom Fury attempts a delicate balancing act, positioning itself as a “boomer shooter” that, unlike its sprite-based predecessor, draws heavily from the early 3D FPS tradition of Half-Life. This manifests as a shift from Ion Fury‘s “fast-paced firefight blasting away sprites while bunny hopping” to a “slower, more grounded combat” with “more puzzle-oriented gameplay.” However, this ambition is met with mixed results, revealing both innovative nods to classics and frustrating flaws.

Core Gameplay Loop & Combat: The game emphasizes a story-driven, interactive, and intense combat experience. Shelly Harrison navigates 15+ levels across the US, engaging in primarily first-person shooter action. The “serviceable but pretty basic” shooting forms the backbone, supported by a “vast array of weapons” – over 20 unique armaments, including returning fan favorites like the “Loverboy” revolver, Bowling Bombs, energy crossbow, and dual SMGs, alongside new additions such as armor-piercing shotguns, electrified foam devices, plasma rifles, and even a mutant insect launcher. John Blade’s powerful Magnum Pistol from SiN also makes an appearance. Each weapon typically boasts an alternate fire mode, unlockable through upgrades. While critics praised the “satisfying crack” of weapons and the “carnage” they create, many felt the overall gunplay was “weak” or “flat,” with numerous weapons feeling “pointless” compared to more effective ones, leading players to stick to a select few in later hours.

Shelly’s new bionic arm is a central gameplay mechanic, offering a powerful “One-Hit Kill Dash Attack punch” (that liquefies enemies, leaving only the head intact for a brief moment before it too bursts) and a forward-facing “Deflector Shield.” It can also manipulate objects and smash obstacles. This ability, while potent, operates on a cooldown, preventing constant use.

Enemies & Bosses: The game presents a “terrifying number of enemies,” from “vicious cyborgs, menacing soldiers, and disgusting mutations” to zombie-like creatures, drones, and heavy units like tanks and helicopters. Each is intended to have “their own special skills,” but critic consensus points to significant flaws. Enemy AI is frequently described as “inconsistent and feels unfinished,” with foes “standing still,” “running in a straight line,” or generally lacking tactical sophistication. As the game progresses, rather than introducing more complex enemy types, Phantom Fury resorts to “dumping enemies constantly,” leading to “tedium” and “annoyance.”

Boss fights, including encounters with a helicopter, Los Alamos Defender, Psychic Giant, William Greywater, and Sarah Crawford’s giant mech, are pitched as “exhilarating” and “spectacular.” However, reviews suggest these encounters often boil down to “shooting it until it dies” without discernible weak points or engaging mechanics, leading to frustrating trial-and-error and a lack of “climactic” feeling, especially when bosses like the helicopter are reused.

Character Progression & Systems: An upgrade system allows players to enhance weapons with new firing modes (e.g., a shotgun flashlight stun, bouncing plasma projectiles) and improve Shelly’s bionic arm and suit abilities (reducing cooldowns, increasing punch power, electric shields, or even minor environmental interactions like sliding to break items). While some upgrades are “meaningful,” many are deemed “entirely pointless,” with critics questioning the utility of abilities like breaking items by sliding when most environmental objects yield no rewards. This makes the “choices about what upgrade I wanted to spend my upgrade materials on” less strategic and more arbitrary.

Interactivity & Puzzles: A hallmark of Phantom Fury‘s design is its “insanely interactive world,” allowing players to engage with “fully usable computers, helicopter flights, playable arcade machines,” and even functional pinball tables or dartboards in dive bars. A “Half-Life style physics engine” is employed for grabbing, throwing, and stacking objects to solve puzzles, such as leaping over fences. While this interactivity is “pleasing” and contributes to the “fun introduction,” many elements are “perfunctory,” serving little purpose beyond aesthetic detail. Critics felt that “most of it doesn’t matter,” contributing to stretches of “unnecessary padding” rather than meaningful engagement.

Puzzles, often involving redirecting power or environmental manipulation, aim to “break up the gameplay.” Yet, they are frequently criticized for “not doing anything new or interesting” and “rarely surpass[ing] any of these elements” seen in older titles. Some lead to “pace-fighting confusion” or prolonged “aimless wandering” due to a lack of clear direction.

Level Design & UI: The game boasts “richly detailed and sprawling maps” with “multiple layers and side paths,” ranging from seedy hotels to research facilities, and the “streets of Chicago.” However, a significant and recurring complaint revolves around the “lack of hand-holding,” with “no map, no waypoints, and vague mission objectives.” This often leaves players “confused to navigate” or stuck for extended periods searching for an “invisible interactable object” or a path that looked like background dressing. The linear progression is sometimes marred by “unnecessarily large empty spaces” or “repetitive” scenarios that drag on, especially in the “hastily constructed third act.”

The UI also faced criticism, with a “piss-poor weapon wheel” and a general “lack of aiming” contributing to a clunky feel. The checkpoint-based save system, with potentially “ten minutes apart” checkpoints, could lead to frustrating loss of progress, especially when compounded by environmental hazards like explosive barrels or unexpected enemy ambushes.

World-Building, Art & Sound

Phantom Fury‘s world-building paints a picture of a grim, cyberpunk/dark sci-fi future in 2101, where America is an “environmentally devastated, mutant-infested mess.” This grim reality serves as a logical backdrop for the radical ideologies that plague the setting. Yet, despite its futuristic premise, the game skillfully evokes a “retro, low poly, aesthetic” that feels “trapped in the noughties.” Chunky computer terminals with CRT monitors, neon-lit arcades, and billboards advertising “trashy sci-fi movies” create a distinct nostalgic charm. This blend of classic inspiration and futuristic decay forms an “instantly engrossing” atmosphere.

Visual Direction: Leveraging Unreal Engine 4, Slipgate Ironworks aimed for a visual style that combines “retro-3D” looks with “modern graphical flourishes.” The result is a game that features “pixel art in its textures” but benefits from “realistic lighting” and expansive environments. Critics frequently lauded the “fantastic art direction” and “excellent use of classical-inspired aesthetics fused with more modern technologies.” Moments like looking over a “desert canyon bathed in the orange evening glow” or observing a battle raging below in a “large area” are highlighted as “quite the spectacle.” Outdoor locations, with their “tall trees, rolling grass, and waterfalls,” are particularly praised as a visual highlight, making it “surprising how quickly it is to forget that everything is coated in pixilated textures.” While one highly critical review claimed it “looks like crap and worse than what Half-Life 2 looked back in the day,” the majority found the visuals to be a strong point, effectively achieving its intended throwback aesthetic.

Sound Design: The soundscape of Phantom Fury is a tale of two halves. On the one hand, the sound effects are generally regarded as “nice and crisp.” Weapons deliver a “satisfying crack” that enhances their impact, and Shelly’s bionic arm punch provides a “comfortable sense of chunky impact” when gibbing enemies. Even the seemingly minor sounds of picking up health and armor pieces are described as “satisfying,” akin to the “fizz of a freshly poured soft drink.” These elements effectively contribute to the visceral feel of the combat.

On the other hand, the music is a significant area of disappointment for many reviewers. It is consistently described as “underwhelming,” “generic,” and “very much in the background,” often “disappear[ing] entirely,” leaving certain levels feeling “lifeless.” This stark contrast creates an uneven auditory experience, where the potent effects of combat are not consistently supported by a memorable or engaging score. The voice acting, however, generally “understood the assignment,” contributing to the game’s B-movie charm without standing out as a major flaw.

Overall, the game’s visuals and satisfying sound effects do a commendable job of immersing players in its unique retro-futuristic world, despite the noticeable shortcomings of its musical score. The interactive elements, while sometimes superficial, also serve to deepen the sense of place, even if their gameplay utility is often limited.

Reception & Legacy

Phantom Fury‘s reception has been decidedly mixed, reflecting an ambitious title that often struggles to live up to its own potential and inspirations. Across aggregate sites, the game garnered a Moby Score of 6.8 (out of 5), a Metascore of 65, and an OpenCritic average of 68, with only 50% of critics recommending it. This “Mixed or Average” consensus points to a game that divided opinions, with significant praise tempered by substantial criticism.

Critical Reception:
On the positive side, many critics lauded Phantom Fury as an “enjoyable,” “fun throwback” to classic shooters, praising its “excellent gameplay,” “downright fantastic art direction,” and its status as one of the “more refined boomer shooters out there.” Reviewers frequently highlighted the “ador[able] visuals,” “incredible audio” (referring to sound effects), “range of enemies,” and “challenging gameplay” as strong points. The “insanely interactive world” and the “vast array of weapons” also received commendation for adding to the chaotic fun. Some saw it as a “remarkable follow-up” and a “good evolution” of its predecessor, particularly for fans of early 3D FPS games like Half-Life and SiN.

However, the game was plagued by a litany of issues. “Various bugs and niggles” were commonly cited, including enemies failing to react, dialogue repeating, objects irregularly bouncing due to the physics engine, and even game crashes. Technical problems were a frequent point of contention, with some reviewers advising players to “wait until some of the technical problems are sorted.” Beyond bugs, significant design flaws were noted: “map design and pacing” issues, a “piss-poor weapon wheel,” a “lack of aiming,” and a frustrating “where do I go type of gameplay” due to the absence of a map or clear waypoints. The game’s “repetitive nature,” “unnecessarily large empty spaces,” and “tedious” final chapters contributed to a feeling of being “a bit of a slog” or “disappointing.” Many critics found the game “unoriginal,” a “confused game” that “doesn’t seem to know exactly what it wants to do,” and ultimately “far from being a bad game” but “simply forgettable” or “unremarkable.” The inconsistent AI and boss fight design also drew heavy criticism, with combat often feeling “flat” or “basic.” Some explicitly stated that it failed to surpass its inspirations, including its own predecessor, Ion Fury.

Commercial Reception & Legacy:
While specific commercial figures are not available, the game “released to relatively quiet reception,” suggesting it didn’t capture widespread public attention immediately. Player scores on platforms like MobyGames (3.5/5) and Metacritic (5.7/10) were also mixed, echoing the critical sentiment. Initial user reviews varied wildly, from those calling it “absolute TRASH” to others praising it as an “excellent tribute” to 2000s FPS.

The legacy of Phantom Fury is still being written, given its recent release. However, its immediate impact is characterized by a strong sense of unfulfilled potential. Many critics hoped that patches and rebalancing could elevate it from a “good game to a great one.” The developers did release a major patch shortly after launch, indicating a commitment to improvement. Yet, concerns linger that the fundamental design choices – particularly the confusing level navigation, inconsistent AI, and superficial interactivity – might be too ingrained to fully remedy, leading some to grimly suggest it could be “grobno mjesto” (a grave) for Shelly Harrison’s potential to succeed Duke Nukem. Its influence will likely be debated as a case study in how to (and how not to) adapt classic FPS sensibilities into a modern 3D engine, highlighting the fine line between homage and being overshadowed by its own inspirations.

Conclusion

Phantom Fury stands as an ambitious, yet ultimately uneven, chapter in the evolving legacy of Shelly “Bombshell” Harrison and 3D Realms. Its leap from the 2.5D Build Engine stylings of Ion Fury to a full 3D Unreal Engine 4 experience, inspired by Half-Life and SiN, was a bold move designed to broaden its retro appeal. On its best days, the game delivers on this promise: a visually striking world with a distinct “noughties” aesthetic, backed by satisfying weapon sound effects and moments of bombastic, interactive chaos. The sheer variety of weapons, coupled with Shelly’s powerful bionic arm, can create genuinely exhilarating firefights.

However, the game’s reach often exceeds its grasp. The intricate, interactive environments frequently devolve into confusing labyrinths, exacerbated by a frustrating lack of a map or clear objectives, leading to stretches of aimless wandering that undermine the “road movie” pacing. Combat, while occasionally brilliant, is frequently marred by inconsistent enemy AI that can feel rudimentary and repetitive. The upgrade system, while offering potential, includes too many “pointless” options, and boss battles often lack the tactical depth required to feel truly climactic. Technical issues, including bugs and the often-criticized checkpoint save system, further detract from the experience.

Ultimately, Phantom Fury exists in a peculiar state: it’s a game that cribs from the best of early 3D shooters but struggles to innovate upon or even consistently match their foundational strengths. It is a testament to the idea that a reverence for classics, without meticulous execution and a clear identity, can result in a product that feels less like a triumphant homage and more like a collection of familiar tropes. For die-hard fans of “boomer shooters” craving a dose of late-90s/early-2000s FPS nostalgia, Phantom Fury might offer a “good, dumb fun” time, especially with post-launch patches. Yet, its numerous flaws prevent it from ascending to the “classic” status it clearly yearned for. Shelly “Bombshell” Harrison’s journey around the US is an entertaining, albeit bumpy, ride—a competent, yet undeniably compromised, entry in video game history that reminds us that ambition alone is not always enough.