Eurogamer writes: "The game begins as you, some sort of construction worker erecting the steel framework of a high-rise building, get a close-up view of the initial bombardment of New York, as German ordnance dismantles your work and the city around you. Being a linear first-person shooter, this means your immediate goal is to navigate down to the ground using the only route available to you - alternative paths falling away, exploding or disintegrating in time-honoured fashion as you approach them.
Actual combat is inevitably frustrating. Your enemies are dim-witted, but powerful in numbers, and flattered by your inability to actually point your gun at them, so you keep a distance where you can, agonisingly picking them off. Even so, you mow down hundreds and hundreds, charting a contrived path up and down buildings, the route forever neatly aligned in unconvincing fashion, one doorway always safe from the wreathes of flame, one train door always open on either side of the carriage, one section of wall uncluttered by razor wire, one window always smashed as you approach along a rooftop ledge."