>>724588529 (OP)
because it had focus
all the little decisions they made were executed as best as they could with the good tech they had
they took advantage of things the tech was good at, ignored or circumvented things it wasn't good at
but arguably most importantly all things they foused on were things that actually mattered and those seperate elements hooked into eachother to compliment
they had: cool lighting engine with shadows
badass sound, good particle effects
they didn't have: ability to make good looking levels that were outdoors and during the day
too many lightsources
resources to voice or make a million enemies
so they made a shooting game with hardcore sounds, in smaller levels that are mostly dark and squareso their lighting works
because the levels were small and they had just a few enemies, they made them as good use of them as possible
so they made the ai and voicework for their one enemy you'll fight all the time as detailed as possible and able to traverse smaller levels to flank you
the they made up a lore excuse for the clones of the same enemy with the same voice, the game was pretty dark so they just leaned into the spooky
now
compare this to modern games where everything NEEDS to be huge open worlds with pointless filler
where every game NEEDS to have a million optional (read, forgettable cookiecutter timewaster) systems and "content"
where every single FOTM gamedesign trend has to be present
where because of this it's almost impossible to get immersed
F.E.A.R. besides its lighting and effort put into the enemy behaviour really isn't that special of a game, but the fact that it knows exactly what it is and isn't trying to do makes it stand out regardless
it's like the anti-elden ring if that makes sense that I just couldn't be fucked caring about (despite absolutely loving souls games)