SPRAWL zero is an interesting evolution of MAETH’s approach to the old-school first-person shooter. Rather than simply recreating the parkour-heavy formula of 2023’s SPRAWL, this prequel takes its inspiration from another corner of the genre’s history, looking back to the faster, more grounded shooters of the 2000s. That change of direction works surprisingly well, largely because the game finds its own mechanical identity instead of relying purely on nostalgia. Its cyberpunk setting, retro-inspired presentation and straightforward premise provide the framework, but it is the unusual combination of disposable weapons, gravity-based abilities and relentless combat that makes SPRAWL zero more than a period piece.
The narrative is deliberately uncomplicated. Players take control of FIVE, a cybernetically enhanced soldier working for the Junta, who is sent after Silas, the leader of the techno-religious IMAGO-DEI. The story establishes a grim future dominated by authoritarian control, technological fanaticism and a decaying megacity, but it rarely gets in the way of the shooting. That is both a strength and a limitation. The sparse exposition suits a game that clearly prioritises momentum, and FIVE’s near-silent, machine-like character fits the setting, but anyone expecting a deeply developed protagonist or elaborate storytelling will find little to latch onto. There is nevertheless enough worldbuilding tucked into the environment, terminals, recordings and competing factions to make the setting more interesting than the basic mission structure initially suggests. There’s also a change in narrative perspective midway through the campaign that helps shake up an otherwise fairly familiar conflict, but everything’s standalone and knowledge of the original SPRAWL is not required.
The biggest change from the previous game is immediately apparent in the way FIVE moves. The elaborate parkour has largely been discarded in favour of a more conventional but still highly mobile FPS experience. There is unlimited sprinting, Bullet Time and plenty of incentive to keep moving, but the arenas now favor horizontal combat, cover and positioning rather than constant wall-running. This is arguably a better match for the game’s central combat systems, because firefights become less about following an elaborate movement route and more about improvising when everything starts going wrong. Enemy forces can pressure the player from different directions, while the open spaces provide enough room to dodge, reposition and look for the next weapon or tactical opportunity.
That weapon system is easily SPRAWL zero’s most distinctive idea. Instead of carrying a favorite rifle through an entire level and carefully conserving ammunition, FIVE generally has access to only one weapon at a time, with guns becoming disposable once their ammunition is gone. The result is a constant rotation between firearms scattered throughout the environment. The Gravity Gloves make the process considerably more practical, allowing weapons and other objects to be pulled towards FIVE from a distance. It sounds like a minor gimmick, but it fundamentally changes how encounters are approached. A shotgun is no longer something to preserve for the perfect moment; it is another temporary tool, and once it has served its purpose it can literally be thrown at an enemy before another weapon is pulled into FIVE’s hands. With more than 40 weapons available, there is enough variety to keep this constant turnover interesting, although not every weapon feels equally satisfying or even helpful.
The gravity mechanics are what elevate that concept beyond simple weapon management. The Gravity Shield can absorb incoming fire and return it towards opponents, while the Gravity Gloves also allow environmental objects to become improvised weapons or defensive tools. Bullet Time adds another layer by giving FIVE a brief window of exceptional precision, while melee attacks provide another effective option at close range. These abilities work particularly well because they do not feel like disconnected powers bolted onto an FPS. They are integrated into the combat loop, encouraging players to combine movement, gunfire, environmental manipulation and abilities rather than simply emptying magazines into enemies. Even when the player is heavily outnumbered, there is usually another way to turn the situation around, provided the combat arena is being read properly.
The controls support that aggressive style effectively on PS5, although the design occasionally asks the player to process a lot of information very quickly. The shooting itself is precise and responsive, while the movement is fast enough to keep firefights energetic without recreating the almost acrobatic flow of the first game. The tutorial is also handled particularly well, introducing the systems naturally rather than stopping the action for a lengthy instructional sequence. The main frustration comes less from the controls themselves than from navigation. Some levels are broad and contain multiple routes, yet there is little guidance towards the next objective. That can turn exploration into unnecessary backtracking, especially when the level design already has a tendency to repeat similar spaces and visual cues.
That repetition is SPRAWL zero’s clearest weakness. The larger arenas provide room for combat and experimentation, but the campaign does not always make enough creative use of that space. Several locations look too similar to one another, and some missions stretch encounters or objectives beyond the point where they remain interesting. The lack of more meaningful alternative routes is also at odds with the game’s emphasis on player expression. There are hidden weapons and opportunities to explore, but the underlying structure can still feel rigid, with some backtracking adding time without adding much value. The campaign’s roughly six-to-seven-hour length is therefore probably about right, particularly with replay value coming more from the combat systems than from a wealth of collectibles.
The enemy design does help compensate. SPRAWL zero introduces different types of opposition throughout the campaign, ranging from conventional soldiers to tougher melee threats, machines and airborne enemies. The combat also benefits from opponents that can pressure the player rather than simply standing around waiting to be shot. Interestingly, the game does not rely heavily on traditional, elaborate boss encounters. Stronger enemies introduced earlier can eventually become ordinary threats, making the player’s growing mastery of FIVE’s abilities more noticeable. It is a clever way of demonstrating progression without filling the game with conventional RPG-style numbers, although the actual boss encounters that do exist can be made less interesting by simply overwhelming them with damage.
Visually, SPRAWL zero succeeds at capturing the feel of a mid-2000s FPS without looking like a deliberately crude throwback. The cyberpunk world is grimy, industrial and oppressive, with muted colors and chunky environmental detail that evoke the generation it is targeting. The aesthetic is cohesive rather than merely nostalgic, and the use of destructible elements and environmental interaction gives some areas additional character. At the same time, the visual identity becomes less effective when the same kinds of streets, buildings and interiors begin appearing repeatedly. Rooftop sections provide more variation, but the enormous city setting could have supported considerably greater environmental diversity. Technically, however, the game appears to have little trouble delivering its relatively restrained visual style, and the Unreal Engine 5 foundation does not seem to impose an obvious performance burden.
The audio design is similarly effective at maintaining momentum. Weapon sounds and combat effects provide the necessary weight, while the electronic and rock-influenced soundtrack complements the industrial cyberpunk atmosphere. There is a clear affection for the sound of early-2000s cyberpunk and action games, and the music helps prevent the quieter stretches of exploration from feeling too subdued. The main problem is variety: the soundtrack contains a relatively limited number of tracks, meaning that individual pieces can become overly familiar during longer sections. It is a minor issue compared with the strength of the combat audio, but one that becomes increasingly noticeable precisely because the game is otherwise so good at sustaining its pace.
SPRAWL zero ultimately works because it understands that nostalgia alone is not enough. Its retro presentation may immediately attract players who remember the PS2 and original Xbox era fondly, but the disposable arsenal and gravity-based combat give the game a mechanical identity of its own. The decision to abandon the previous game’s parkour could easily have made this feel like a step backwards, yet the more grounded approach arguably gives the combat systems room to breathe. What holds it back is a somewhat uneven campaign structure, repeated environments, occasional navigational confusion and boss encounters that do not always provide the payoff expected from a shooter of this type. Even so, when the guns are flying, the Gravity Shield is bouncing bullets back at enemies and the next weapon is being ripped across the room into FIVE’s hands, SPRAWL zero is exactly the kind of fast, uncomplicated FPS that it sets out to be.
Score: 8.1/10