There’s something undeniably charming about The Precinct. From the moment you step into the rain-soaked, neon-lit streets of Averno City, the game oozes nostalgia for 1980s cop films, think of Miami Vice meets Dirty Harry, but with a pixel-art aesthetic and a synthwave soundtrack that never lets you forget what decade you’re supposed to be in. As Officer Nick Cordell Jr., a rookie cop out to solve his father’s murder, you’re thrown into a sandbox where petty crimes and high-speed chases unfold in equal measure. And while the game nails the atmosphere and sheer fun of being a beat cop in a chaotic city, it’s also held back by some technical issues.
The Precinct feels like playing through a lost episode of Starsky & Hutch. The open-world design encourages improvisation, you can be a hard-nosed enforcer of the law, slapping parking tickets on expired meters the second they run out, or a reckless hotshot chasing down armed robbers in a muscle car. The variety of callouts keeps things fresh, ranging from minor disturbances (public drunkenness, vandalism) to full-blown shootouts and bank heists. There’s even a riot van and a helicopter for when things really escalate, reinforcing the power fantasy of being the city’s last line of defense.
The driving mechanics, while not perfect, are surprisingly satisfying. There’s weight to the vehicles, and weaving through traffic in pursuit of a suspect feels exhilarating, especially when you pull off a perfectly timed pit maneuver. The game also deserves praise for its UI, which is clean and intuitive, no weird menus or convoluted systems here. And while the story isn’t L.A. Noire-levels of deep, it’s a fun, pulpy detective tale that complements the sandbox gameplay rather than overshadowing it.
Unfortunately, The Precinct suffers from the kind of rough edges that plague many indie sandbox games. The AI is a frequent offender, traffic gets stuck behind your patrol car, backup units abandon their vehicles in the middle of the road, and pedestrians sometimes react in bizarre ways (like casually strolling through a firefight). The game’s crime system, while ambitious, can also feel inconsistent. You might chase down a suspect who just ran over a pedestrian, only for the game to claim you’ve arrested the wrong person. Other times, you’ll fail a mission because a scripted event didn’t trigger properly, even though you did everything right.
Another issue is the sheer volume of callouts. While it’s great that the city feels alive, getting bombarded with multiple crimes at once, some of which instantly cancel each other out if they’re too close and can be overwhelming. Worse, certain crimes repeat in the exact same locations, breaking immersion. And while the lack of punishment for failure (death just means a quick respawn) keeps the game accessible, it also removes some of the tension that could have made pursuits feel more impactful.
Compared to something like L.A. Noire, The Precinct is far less serious, trading interrogation depth for chaotic sandbox freedom. It’s closer in spirit to Grand Theft Auto 2 or Chinatown Wars but with a police twist, it’s more about causing mayhem in a structured way than delivering some gripping narrative. That said, its commitment to the 80s aesthetic and its variety of activities give it a really unique flavor. It doesn’t take itself too seriously, and that’s part of its charm I think.
Pros:
- Fantastic 80s atmosphere with a killer synthwave soundtrack
- Great variety of crimes and patrol vehicles
- Smooth driving mechanics and satisfying pursuits
- Lighthearted tone that doesn’t punish failure
Cons:
- AI behavior can be frustratingly dumb
- Repetitive crime spawns and occasional mission bugs
- Lack of consequences makes some encounters feel weightless
The Precinct: The Precinct is a game with clear passion behind it and one that nails the vibe of being an 80s cop but stumbles in execution. If you can look past its AI quirks and occasional bugs, there’s a lot of fun to be had in its neon-drenched streets. It’s not the most polished sandbox out there, but it’s one of the few that truly captures the reckless spirit of classic action movies. – Tom Henry
