Danny dies anyway (scripted). Enraged, you follow the Predator into a sewer pipe that leads to an impossible geometry—a temple hidden beneath the city. The skybox is a star map. The music is a 16-bit ambient hum of alien origin.

The Predator is vulnerable. It uses a net gun that pins you to the floor. You must wiggle the D-pad to break free. It also uses a disc weapon that ricochets off billboards. To win, you must knock a water tower onto it. It retreats, leaving a trail of neon green blood.

You find your partner, Danny, strung up by his feet. He’s still alive. The Predator appears between you, holding a combistick. It points at Danny, then at you. It wants a fair fight. If you try to save Danny first, the Predator impales him. You must fight first.

The train crashes. You now navigate a burning tunnel, holding your breath (a stamina bar depletes). The Predator appears as a mirror image—it mimics your movements. If you shoot its reflection, you lose health. You must find the real one by watching which one doesn’t cast a heat signature.

A heat shimmer distorts the background. You see nothing. Then, three red dots appear on your HUD (which looks like the Predator’s own vision: a grainy, scan-lined mess of oranges and reds).

You’ve tracked the creature to the top of a high-rise owned by the Jamaican Voodoo Posse. The gang has crucified one of their own as a warning. They are armed with shotguns and machetes. Their leader, King Willie, speaks in cryptic, scrolling text:

The walls are lined with skulls from other warriors: a Xenomorph skull, a pirate skeleton, a samurai helmet.