Reviews - Updated on April 8, 2022

Since its announcement, Everreach: Project Eden has felt like a budget take on Mass Effect, a futuristic action role-playing game also set on distant planets. And the fact that the plot was written by Michelle Clough, the literary editor of the Mass Effect trilogy, only strengthened this comparison. But the reality turned out to be harsh – the definition of “budget” sounds too soft for this game.

Again evil aliens

I don’t know how actively Michelle Clough worked on the Mass Effect scripts, but in Everreach: Project Eden the plot turned out to be so-so. We play as Nora Harwood, an employee of the security department of the Everreach Corporation, who flew to the human colonized planet Eden to find out why some colonists are attacking others here. As a result, as usual, an ancient alien race was to blame for everything, having built huge obelisks on the planet. We’ve seen this somewhere before, haven’t we?

Naturally, Michelle Clough tried to give the story depth and lyricism, a personal touch. We communicate with a journalist who asks to reveal the secrets of the corporation, we read notes that shed light on what is happening (sometimes in an ironic way), we have sentimental conversations under the stars with our partner, with whom Nora has many shared memories, we are sad about the death of another comrade. But all this is written briefly and superficially.

At the most interesting point

The same can be said about non-linearity. For the whole game, there are exactly three situations of choice, which, among other things, affect the fate of the very partner with whom Nora spoke, as well as the fate of the alien race.

When we penetrate the mysterious obelisks and make an important choice, it begins to seem that the story will now begin to unfold in full, and the most interesting is yet to come – but at this moment it all ends and the credits roll out. The plot in Everreach: Project Eden was also obscenely short, literally three chapters.

Everreach: Project Eden game review

Close combat is not implemented here at all.

The only bright spot in all this is Nora’s assistant drone, which constantly flies nearby, prompts, directs something, and besides, it tries to turn on the humor module all the way. Once, for example, he will offer to distract the enemies by flying up to them and shouting loudly “Boom!”. It is a pity that his participation is limited to this. But it would be possible, as in Gears 5, to use it to scan the area, stun enemies or even take them under control.

Crooked and uncomfortable

Well, in general, Everreach has big problems with the gameplay. Everything seems to be in place: there is shooting, hovercraft rides, pumping the heroine, collecting resources, and even mini-games. It’s just that everything is implemented very crookedly. This is especially true for moving and shooting from behind cover: the Nora is controlled like a clumsy refrigerator that touches everything that can be touched, periodically gets stuck in the environment and does not obey our commands well. Moreover, the sight constantly shakes due to the inability to adequately adjust the mouse sensitivity.

As a result, every combat encounter turns into a living hell. It’s good at least (although it’s really bad!) That the enemies are incredibly stupid – most often they just stand still, while sometimes they don’t react to our hits if you fire from a dead zone that opponents simply don’t see.

The hovercraft is also poorly controlled, which walks from side to side and strives to crash into all obstacles. This is especially painful when we need to maneuver between explosions, moving away from our pursuers, and in case of defeat, start the episode over and stare at the loading screen for a long time. Yes, and departures closer to the finals happen very often.

Everreach: Project Eden game review

Enemies can be easily shot, even without especially looking out from behind shelters.

short and boring

All the few tasks (both story and two and a half side ones) come down to the fact that we need to fly on foot or on a hovercraft from point A to point B, periodically kill enemies, destroy radio towers, clear outposts and collect tokens from the bodies of the fallen . Or, for example, sequentially go through three checkpoints, supposedly finding out the fate of the missing scientific expedition, but in reality just reading notes and listening to information from the drone.

You have to run or drive through large, picturesque places, but generally quite monotonous and empty locations – if they were really created, as the authors assure, by an artist who worked on the films Warcraft and Star Trek: Infinity, then in this case he did not tried hard. Exploring the “vast extraterrestrial world” and “exploring the secrets of a lost civilization buried under the surface of the planet” come down to searching for boxes of ammunition and resources hidden in the corners of the maps.

The latter are needed to upgrade the heroine’s numerous skills, which are arranged in Project Eden in much the same way as in Path of Exile – they open gradually as you move along a large and branching skill tree. In addition to pumping health, shield, armor, damage dealt, resource collection efficiency, and so on, we also unlock active combat skills, such as setting a bulletproof energy field or dashing without stamina. But the trouble is that the game ended before I opened at least half of all the abilities.

Here’s the level of local action in general and enemy AI in particular.


Everreach: Project Eden is a scam. The authors (and this is exactly five people) are simply lying when they write about “tactical ground battles”, “fascinating gameplay”, “a well-thought-out level system” and “an extensive game world”, where they supposedly need to explore something. This is an attempt to make easy money on associations with Mass Effect and with something basically good, for which Michelle Clough is mentioned, as well as “an artist who worked on Warcraft” and “Star Trek: Infinity”. They slipped us outright garbage – a short, crooked and poorly optimized craft, most of all reminiscent of pretentious, but insolvent Eastern European shooters from the zero.

Pros: there are good texts, dialogues and characters; there are difficult mini-games; picturesque locations.

Cons: clichéd and short story; few situations of choice; crookedly implemented shooting; half of the skills are not used; locations are mostly empty; poor management; crashes and long loading times; graphics come from zero.

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