There’s something unmistakably nostalgic about booting up “The Precinct.” Maybe it’s taking place in the 80’s when I was born, with a really cool setting drenched in neon and rain, or maybe it’s the familiar top-down view that instantly transported me back to the early days of the original two Grand Theft Auto games. Whatever the reason, the first hour or so with this game felt like slipping into an old VHS crime drama, complete with synth-soaked streets, flickering lampposts, and the gritty voice of justice echoing through the alleyways.
In “The Precinct,” I took on the role of rookie officer Nick Cordell Jr., hitting the beat in a city that’s as corrupt as it is vibrant. Averno City may look pixel-perfect at a glance, but its rain-slicked streets and day-night cycles are definitely eye-catching. Underneath that stylized exterior lies a volatile mess of gangs, crimes, and unanswered questions about my father’s mysterious death. The game gives you a badge, a beat-up cruiser, and tells you to clean up a city that doesn’t really want saving. The opening hours were exciting. I cruised through downtown, responding to crimes in progress, setting up spike strips, and calling in backup for high-stakes pursuits. The adrenaline kicks in fast once you’re in a car chase, especially when the destructible environments come into play. There’s a real satisfaction in plowing through fruit stands, dodging fire hydrants, and watching squad cars cut off escaping suspects with perfect timing. That’s where the game shines brightest; its vehicular gameplay is sharp, fast, and fun.
But once the honeymoon period wore off, the cracks started to show. Let’s start with the good: Averno City is a character in its own right. The developers clearly poured their hearts into the setting, crafting districts that feel distinct, from the crumbling Projects to the Financial District’s clean lines and chaos. I enjoyed just wandering on foot, soaking in the city’s ambiance, whether it was a sudden downpour at dusk or the pulsing nightlife of some forgotten backstreet. There’s a rhythm to the world that feels alive; bystanders chatter, drivers curse, and criminals lurk just out of view. The aesthetic is top-tier for an indie sandbox. Unfortunately, the gameplay loop doesn’t quite live up to the city it takes place in. While “The Precinct” sells itself as a dynamic police simulator with sandbox freedom, it starts to feel like a checklist game pretty quickly. Respond to a street brawl, issue a few parking tickets, chase a thief, rinse, repeat. There’s an illusion of choice in how to approach your duties, but the missions start to blur together with too little variation. And when shootouts break out, things get clunky fast. Gunplay feels stiff, enemies are either brain-dead or frustratingly twitchy, and cover mechanics are nearly nonexistent.
I also struggled to connect with the main narrative. The plot about avenging my father’s death had potential, but it quickly devolved into predictability. The game tries to drip-feed the mystery through scattered cutscenes and police reports, but it never builds enough momentum to make me care deeply about the characters. Nick Cordell Jr. himself felt more like a generic template than a fleshed-out protagonist, and most of the supporting cast didn’t fare much better. On a mechanical level, there’s ambition here. The support system is robust; you can call in fellow officers, set up roadblocks, and even request helicopters to assist during intense situations. It adds depth to the chases, letting you plan your approach and adapt on the fly. But that depth rarely extends to other parts of the game. Character progression exists, but it’s shallow. AI is inconsistent, with suspects occasionally getting stuck on geometry or reacting in laughably unrealistic ways. And despite all the window dressing, it becomes clear that this isn’t a true sandbox, just a looped routine disguised as one.
Still, I can’t bring myself to completely write off “The Precinct.” There’s a real charm in how it embraces the clichés of ‘80s cop cinema, down to the synth soundtrack and moody monologues. When it’s firing on all cylinders (usually during a dramatic chase), the game genuinely clicks. Those moments are when I remembered why I was drawn to it in the first place. But those highs are too fleeting, and what’s left in between doesn’t do enough to carry the experience. It feels like a project that started with a strong visual identity and some big ideas, but ran out of steam when it came time to flesh everything out. It’s the kind of game I wanted to love, one that shows flashes of brilliance through a rain-streaked windshield but stalls out when I step onto the sidewalk. “The Precinct” isn’t a bad game, but it is an underwhelming one. There’s enough style and kinetic energy in its chases to justify a weekend playthrough; just don’t expect the badge to carry as much weight as it used to.
6.5/10
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Related: Reviews by Nick Navarro
Gaming since I was given an original Nintendo as a kid. I love great storytelling and unique ingenuity. When both collide in a single game, I'm a happy gamer. Twitter/IG @NickNavarro87
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