Weighty Boots and Zero Latency
The moment Hugh takes his first steps in the lunar facility, you can tell Capcom tuned the movement engine with care. He has real weight to him. When you hit a sprint and cut sharply to the left, his suit catches the floor and pushes back without feeling like he is skating on butter. Too many third-person action games slap heavy armor on a protagonist and mistake sluggish turnaround animations for grounded physics. Here, the startup on his movement is immediate, and you retain control right up until you commit to an attack.
That responsiveness matters because you are managing two bodies simultaneously. You guide Hugh as he moves, jumps, and shoots, while Diana handles active hacking commands right alongside him. Splitting your attention across two inputs could have easily turned into a sloppy mess of dead inputs and camera fighting. Instead, Diana's actions execute with zero delay against rogue defense units, leaving you free to line up shots or time a jump over an incoming sweeping blast without dropping your offensive rhythm.
Managing the Space Between Bullets and Code
Combat runs on constant spatial awareness. Rogue AI security drones and corrupted facility mechs do not wait their turn, forcing you to rely on clean positioning. Hugh's shooting carries crisp tactile recoil, and his jump clears low hazards cleanly without awkward hang time. When a swarm pushes in close, you cannot just mash a single button to escape. You need Diana to break through security nodes while Hugh creates physical breathing room.
The collision boxes on enemy sweeps and lunges are surprisingly tight. If an AI guard swings a heavy arm across your chest, ducking or jumping clear actually registers cleanly across the physical model rather than snagging on an invisible bounding box. You learn quickly to respect recovery animations on Hugh's heavier tools. If you fire a heavy shot without Diana disabling the target's shield first, you eat a counterattack. That kind of strict cause and effect is exactly what keeps an encounter interesting.
A Surreal Lunar Graveyard
The setting itself gives the action a bizarre backdrop. Outside the core corridors, half-realized replicas of human civilization sprawl across the lunar dust, built from the facility's 3D-printing ore before everything collapsed. Walking past hollowed-out suburban facades and unfinished municipal plazas under a dead sky feels unsettling in a good way. The visual clarity stays high throughout these zones, which keeps environmental clutter from obscuring incoming threats.
Sound design pulls its weight too. The game includes full English voice work alongside English interface text, and the audio cues for incoming AI strikes are sharp enough that you can react purely on sound when managing Diana's hacking reticle. Hits sound solid, mechanical limbs snap with convincing metallic stress, and Hugh's boots hammer the steel decking with distinct acoustic feedback depending on whether you are sprinting across grated catwalks or solid concrete foundations.
The Demands of Splitting Your Focus
At forty-seven dollars and ninety-nine cents on Steam, this is a tightly budgeted package that stays focused on its core trick. It does not stretch itself thin with empty open-world chores or bloated upgrade trees. Everything funnels straight into testing your ability to coordinate two distinct combat roles under pressure. Some fights in tight storage bays can test your camera handling, especially when fast-moving aerial units circle behind Hugh while Diana is locked onto a wall console. You have to actively reset your perspective, which can feel hectic during your first couple of hours.
Once your hands settle into the rhythm, though, the clumsy feeling disappears. You stop thinking about Hugh and Diana as separate units and start treating them as two halves of a single combat kit. Slipping past a heavy machine's charge, triggering a hack to shut down its mobility, and punishing the open joint with a rifle blast feels genuinely earned. Capcom built an action system with real teeth here, and it refuses to play itself for you.
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I was surprised by how little the narrative earned its quieter moments. The dual-character input is responsive, yes, but the emotional beats needed more room to breathe than a lean campaign allows. I apologise if that sounds cold; the concluding chapter was genuinely moving, and I wish the rest had matched it.
the camera in those narrow rooms is still on my nerves. but the zero delay between hugh and diana means i can't even blame the game when i get bopped, that's fair. the fights feel really solid, hope the devs keep at it.
I have been playing it the slow way, standing still to line up Diana's hacks before moving Hugh. It feels like a different rhythm, calmer. Has anyone else tried that? Do you think you lose something by not rushing?
was so ready for this since they showed the first trailer..... and yeah, the input response is really something. zero delay, like Hugh and Diana are both reading my mind. but man... the camera in those narrow rooms with the flying enemies? i kept losing track of Diana and running straight into a wall. maybe it's an age thing but my brain took way too long to coordinate both characters. the hit detection is fair though, exactly like the review says, so I'm gonna keep at it..... probably. maybe.
@tpr84same tbh. once u get past those cramped rooms it clicks. i stopped panicking and started watching where the flying enemies lined up instead of just chasing them around. coordinating diana's hacking with hugh's swings actually makes sense now. stick with it a bit longer imo
@tpr84tpr84 exactly that lmao. chat had mixed feelings on this one, they watched me eat a wall over and over trying to track diana, but even my regular viewer said the hit detection feels clean. i'm calling it content gold if i can survive the cramped rooms. THE CAMERA IS THE REAL BOSS THO
@tpr84the camera in those narrow rooms is still on my nerves. but the zero delay between hugh and diana means i can't even blame the game when i get bopped, that's fair. the fights feel really solid, hope the devs keep at it.
Two characters at once sounds cool until the camera fights you harder than the enemies do. Bought the bundle, refunded by noon.
@l33t_strpurecamera got me too. i was too stubborn to refund though, just kept dying and telling myself it was relaxing (it was not relaxing). the precise hitboxes are a nice change honestly, i usually blame the game but this one made me blame my own thumbs (progress, maybe). maybe i'll try again after a nap. no stress either way (just my two cents though)
@l33t_strpurerefunded by noon? fair enough, the camera's a bit of a dog's breakfast in those tight spots. but the zero delay on the controls is proper sharp mate, give it a few more deaths and it clicks. stoked you at least gave it a shot.
$47.99 is a couple of breakfast platters at the diner near my place. This campaign is lean by design, so I'd rather y'all wait for a sale and spend the difference on sides. The controls sound great, but my wallet don't negotiate.
@guten_garyyou're doing the math i'm too scared to do. i just saw moon and capcom and hit buy (my credit card is still crying). no regrets though, the response timing is tight enough that i felt like a genius for a hot second before the camera brought me back down to earth. not bad for a game I bought while completely loopy on painkillers (and tea)
I was surprised by how little the narrative earned its quieter moments. The dual-character input is responsive, yes, but the emotional beats needed more room to breathe than a lean campaign allows. I apologise if that sounds cold; the concluding chapter was genuinely moving, and I wish the rest had matched it.
Did anyone else see the way the moon dust drifts during the hacking sequences? How did they even do that? I keep stopping to watch it and then Hugh gets smacked by a flying enemy.
@outofpaperagainthe moon dust got me too, i stopped to watch it and hugh smacked straight into a wall (not that the game cheated, the hitbox was right there (i just wasn't
The quiet parts on the moon hit pretty hard. You can really feel how clunky Hugh is compared to Diana's remote hacking, and it actually makes them feel like partners relying on each other instead of just two sets of inputs. I ended up slowing down between fights just soaking in the empty space. No spoilers, but the late campaign really changed how I looked at both of them.
@Elena Reads CodicesI have been playing it the slow way, standing still to line up Diana's hacks before moving Hugh. It feels like a different rhythm, calmer. Has anyone else tried that? Do you think you lose something by not rushing?
@bkw92I did the same thing on my second run. Slowing down lets the handoff between Hugh moving and Diana hacking read like a conversation instead of a scramble. I don't think you lose anything by not rushing. The campaign is lean enough that either rhythm works.
The camera can get a bit frantic in tight spots, but the controls are proper fair. I didn't expect the ending to land like that. Proper choked me up, that...
great job to the devs on this one, the sync between hughs heavy moves and dianas hacking feels so smoth. i died a bunch to the camera in those rooms but my own thumb drifts are probably half the blame lol. the moon dust drift is gorgeous, i stopped to look and got bopped by the same flying guy. anywya gotta go the baby is
tip for the narrow rooms: line up diana's hack before you move hugh. wait for the fliers to come to you instead of chasing. the camera gets frantic when you yank it around mid-swing, but if you set the target first it keeps up fine. hte pacing works once the coordination clicks.
tbh the dual character thing sounded like a gimmick but i kinda like it lol. the controls are tight and the hit detection is honest. $47.99 for a lean campaign still feels steep, especially compared to what we used to get for that kind of money. camera in tight rooms is a mess though. tbh games just felt more complete back then lol
dont rush the slow parts. theyre not filler, they teach you where to put diana before hugh swings. hte game stays fair if you plan ahead. hit the beat on the upbeat not the downbeat, that applies to combat too.