But even more awesome is the song that plays during the credits, if only for its thematic significance: "Mother" by Danzig.
Also a Crowning Moment of Awesome for the developers, considering Manson hates licensing his songs, and prefers to just make new ones for stuff instead (like the one in John Wick), since he'd rather it be designed for the work.
Critical Dissonance: F.3.A.R. received a fairly positive reception by critics, with some even declaring it one of the best shooters of the year, but fans were not nearly as pleased. A look at the Metacritic page shows a critic score of 74 and a user rating of 5.8.
"Funny Aneurysm" Moment: Stokes asks Snake Fist who Alma is. Snake Fist replies "She's the mother of the apocalypse!", an amusingly unhelpful description that becomes somewhat less amusing in light of the game's ending.
Hilarious in Hindsight: One of the meanings players gave F.E.A.R. was "Fuck Everything And Run" (although that one is an old A.A. saying, its counterpart on the other side of Sobrierty is FEAR stands for ”Face Everything And Recover). In FEAR 3, one of the multiplayer modes involves doing mostly this and is called "F**king Run".
It Was His Sled: F.3.A.R. is built off the twist endings of both games prior: Paxton Fettel being the Point Man's brother and Alma being their mother, and Alma raping Beckett.
Genevieve Aristide and Harlan Wade. Which of these two is worse is up to you. For your consideration: Harlan was responsible for Alma's forced impregnation - and was the sperm donor, basically knocking up his own daughter, twice. Then he took both of Alma's children away from her before locking her up in the vault, raised them from birth to be psychic killers, and as far as we know, threw one (the Point Man) out to fend for himself when he wasn't successful, while locking the other (Fettel) in essentially a private jail after he went berserk from Alma's influence and killed about a dozen people. Aristide, meanwhile, is your typical Pointy-Haired Boss taken to sociopathic extremes, completely refusing to accept the blame for any fallout from her boneheaded decisions (no matter how often she claims to) or even learn from those mistakes, and in fact actively accelerates most of the bad things that happen in the second game in her zeal to recapture Alma just to save her job, no matter how much people much smarter than her insist the plan will not work, period.
Paxton Fettel crosses this if you win F.3.A.R.'s campaign as Fettel. For someone obsessed with talking about his mother with his brother, it's horrifying to see Fettel absorbing Point Man's body to eat his mother. It's easy to lose any sympathy for him after seeing this ending.
The trailers for FEAR 3 - especially the lines "Mother is expecting again" and "It's not every day we get to meet... a new member of the family", accentuated by the fact that the voiceover sounds like something out of a grindhouse film.
Paranoia Fuel: Alma is standing right behind you...... Made you look.
This is brought in full with Jankowski's ghost; at various points across the game (and some of the expansions), you'll hear his voice echo, "Is someone there?".
There's a scene in F.E.A.R. where you get out of an elevator, walk maybe 10 feet away, and press a button or two to get the elevator working again. Then you look up and Alma is standing there, between you and said elevator.
The Assassins and their cloaked nature makes this inevitable, because there are several points in the game where you either spot an Assassin out the corner of your eye as they run into a duct or over a wall, or can hear the distinct electronic whirring sound of their cloaks activating or deactivating.
Porting Disaster: F.E.A.R. for the Playstation 3 was an incredibly unrefined and choppy rushjob of a port compared to the Xbox 360 version, although even that one had its limitations and issues.
Sequelitis: The sequels aren't held in as high regard as the original F.E.A.R., for a variety of reasons with the primary concern being how they were made with consoles in mind first, but F.3.A.R. in particular was derided for being a generic modern-shooter with a neat gimmick in the asymmetrical co-op. The first game's expansion packs, especially Perseus Mandate, also fall under polarizing.
That One Boss: In F.E.A.R. 3, the REV powered armor in Interval 05 that appears in the plaza. Most such units in previous games were weaker, to the point that all it took was a few assault rifle magazines to destroy. This one eats bullets and explosives and laughs, and then returns the favor with lasers and automatic grenades.
One review of the first game noted that, while the graphics were impressive, the characters more closely resembled plastic dolls than real people.
ATC troops in the first and second games do not change their facial expressions, even when getting shot or torn to pieces by psychic horrors. This may be why the ATC troops in the third game were all rendered with balaclavas to hide their faces.
The Woobie: You can't learn about Alma's background without feeling somewhat sorry for the girl.
And let's face it, Becket at the end of F.E.A.R. 2. He's been fighting for two days straight, got horrifically operated on, is having horrible hallucinations, is being attacked by endless numbers of enemies for no discernible reason, is stalked by an insane psychic ghost, gets raped and becomes the "father" of the apocalypse. It gets worse for him in F.E.A.R. 3, as he's escaped only to be captured and held by Armacham for nine months, then gets his mind invaded by Fettel before exploding.
Then there are the Replicas, if you think about it too much. Do they actually want to be shooting at you, or are they just being forced to do so by Fettel? And, then there's Fettel himself, who is being driven insane by Alma.