The story is enthralling from the start. And while the interaction with NPCs is a bit one-sided, it still holds up well. Great voice acting, writing, convincing models and incredible facial animations ensure that.

Even with no weapon in hand, the game is exciting. Pulling into the train station at the beginning is creepy. As you work your way through a rigid and cold system, you notice no one has bit of hope left. You want to prop them up and tell them to fight back. Soon enough you’re in safe hands. And soon enough, you’re removed from safe hands — and that’s where the real fun begins. I’ve only picked up a couple of weapons but they feel, look, and sound great. Even the pistol has a satisfying way about it! When’s the last time you could say that?

The path through the first few levels is so brilliantly desgned that you won’t think you’re in a game. You’ll be completely sucked into the world. When you have to start running there’s always an escape route. But here’s the kicker — you don’t feel like there’s always an escape route. No, you think, “Wow, I lucked out finding that open train door.” The execution is that refined, people.

I’ll do a full review when I’m done, but I can tell you this — Half-Life 2 is everything we hoped it would be. You know why I like this game so much? It does something only a game can do. All this film as game and game as film crap that’s always floating around is slapped across the face by Valve’s effort. Screw film. It can’t touch something like Half-Life 2.