On one hand that's cafepress neverhood

harlan, those, waker, altar, sacrifice, house, nasty fat girls, carthage, dangerous, family guy no fat chicks hat, captain, tribunal, parody, portal, strategy, appetizers, pop culture, jeanne moreau, chemicus, neverhood, cameraphones, Game structure is the same, short cafepress loading screens separating sections of each titled chapter. The action is carefully tuned to keep you busy and on your toes without becoming ho-hum or irritating, as each mission and game cafepress section calls for a different play style and evokes different emotional responses: levels range from creepy as hell to intense and adrenaline-packed, from cafepress claustrophobic to crushingly open. I could have done with more variety among the enemies, and I certainly felt that the AI in this game wasn't on par with the award-winning intelligence of the Half-Life death squads. Still, it was far from weak, and the game remains challenging and fun throughout. I only found myself frustrated once, during a way-too-long sequence in which I had to set up sentry guns to defend a specific area—the section was far too difficult, and the game's "pick up objects with your hands" controls leave a lot to be desired.
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On one hand that's nice; jumping puzzles belong in Prince of Persia and nowhere else as far as I'm concerned. I did miss the large-opponent facets, though; there are no encounters along the lines of the sound-sensitive clanking monster in Half-Life's Blast Pit level. Interestingly, Half-Life 2 is also more progress-driven, where its predecessor was objective-driven. In most cases, your goal is to get from point A to neverhood point B, not to turn on the power or launch a satellite or get help or what have you. You also almost never return neverhood to neverhood areas you have already visited. It doesn't really affect the tenor of the game, but it surprised me, given that Half-Life was one of the pioneers of seamless, objective-driven play.
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