The Hero

My honest first impression of The Hero was a kind of quiet respect for the audacity of it. Dark Space Studios, an Egyptian indie outfit, built an open-world action-adventure spanning a gloomy, gang-ruled New York and 1802 London during the Fraser campaign on Egypt. Two playable characters, two interlocking storylines, one very small team. That is a scope that would give a mid-sized studio pause. Caring about underdogs is my thing, so I wanted this to work. The structure is genuinely interesting on paper. You alternate between John Matt, a grief-driven New Yorker fighting gangs that have effectively turned the city into a state-within-a-state, and Jack Papesto, a peacekeeping operative trying to derail a military campaign in the 1802 London story. The two timelines are meant to connect as the game progresses, and there is something quietly ambitious about using a 19th-century historical conflict as a counterpoint to a near-future urban collapse. The New York chapter gives you a drivable car with a turbo boost mechanic and lets you use it offensively against enemies scattered through the city. The London chapter shifts the tone toward something closer to a period action game. On a conceptual level, that is a legitimately original pairing for an indie release. In practice, the execution is where patience gets tested. Post-launch patches addressed floating weapons, crosshair errors after taking cover, broken elevators in the fire station map, and character rendering glitches after death. Those are not cosmetic issues. They are signs of a game that shipped before its internal systems were stable. The open world, while sizeable, feels sparse in a way that is less atmospheric emptiness and more underfunded emptiness. There is a difference, and this is the latter. The cover system, which should be central to the combat, had to be patched more than once. Enemy bases are there to infiltrate, and the moment-to-moment gunplay exists, but there is little of the handcrafted environmental tension that makes infiltration satisfying in games that do it well. I will say this: the dual-setting concept earned the studio an audience choice award at Run Double Jump Egypt 2017, which predates the Steam release. That recognition matters. Someone saw the idea and responded to it, and I understand why. When a small team is this ambitious, the failure modes are forgivable in a way that a cynical, half-effort release is not. This is a game that wanted to be something. It simply did not yet have the tools, time, or resources to close the gap between vision and execution. If you are the kind of player who finds something to appreciate in rough early-access-adjacent indie releases, especially ones with unusual historical settings, there is a curiosity here worth poking at carefully. For everyone else, the lack of any public review corpus, rated score, or sustained community discussion since release tells its own story. This one is for the patient and the forgiving only. Kai, Scout Team

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