1Up's S.T.A.L.K.E.R. review said:
In another first-person shooter, forward is the only way to go. Glowing switches and spawning goons and out-of-the-ordinary lighting and other less obvious goads reassure you that you're on the right path... And, as more and more players play more and more games, a "no gamer left behind" mentality emerges. Whether developers decide to lean on figurative signposts or to give up and graffiti their games with literal and gratuitous arrows (as Perfect Dark Zero did on Xbox 360 and Half-Life 2: Survivor does in Japanese arcades), hours and hours of guinea pig input had some say in it.
OK, Ukraine-made S.T.A.L.K.E.R. isn't the first FPS to assume its audience is intelligent -- far from it. Perhaps it's the way it is because the studio bypassed the public part of the test-iterate-test phase to cut costs. Or maybe it was the cultural distance between Kiev and L.A. that made the difference? Or the lag between 2001 when GSC Game World announced the title and today in 2007 when market analysts advocate FPS as a "growth genre"? Is it, in other words, just that S.T.A.L.K.E.R. is similar to some American shooters made before "everyone" became a target audience?
...S.T.A.L.K.E.R.'s landscape is less movie set "Main Street" than Call of Duty's or Half-Life's or Ghost Recon's... Even when the way isn't triplicate, it feels more natural than another FPS's unspooling script. You'll circle a building burglarlike, for example, before finding a point of entry (and perhaps meet a prisoner who -- calling from his cell window -- makes a mission offer as you pass).
...Too few single-player shooters force us to make decisions other than when to shoot and what to shoot it with. S.T.A.L.K.E.R. complicates things by adding both "how to get there" and "whom to oppose/whom to help."
...Far away from even voluntary objectives, you'll find vandalized factories and woody, overgrown villages, every girder and path of planks traversable and rendered down to the rust. In a Half-Life, these set the stage for climatic moments; here, in this much-removed "zone of alienation," they're home to loner guitarists and feral dogs.
These days, Americans just don't design shooters this way.