Jawbreaker

Jawbreaker is a game I can only really describe as being a "Grasshopper/Suda51-like" (The developer that is)
It's got that weird sort of comedic grim over the top Japanese parody of American slashers feel to it.
Which admittedly is a strange way to describe a game but I genuinely can't put it in better terms, it's how I felt from the main menu all the way to the end.
Let's start with the things I disliked first.
The game is way too easy and the enemies don't really possess much of a threat, the enemies that show up later in the game are even more harmless for some reason.
The guns and item pickups feel pointless because of how easy it is to avoid enemies. Apart from the odd healthkit every now and again I never had much use for the items and I never carried the guns on me because I didn't see much of a reason to shoot anyone.
The boss fights where also kinda boring since they are just a waiting game with a very clear solution.
Now on to everything else!
The world looks incredible, it's a post apocalyptic neon punk world that is all industrial and grimy.
The enemy faction the Faceless Gang is surprisingly varied, it is not just a bunch of psychopaths. Listening in on some of their dialogue you can tell some are a little less crazy than the others. It makes the enemy dialogue and clothing styles feel a lot less one dimensional.
The music is a fantasic mix of punk, rock and the occasional gangster rap song. Though some of the more horror focused parts have some electronic ambiance aswell. Really good soundtrack and a huge highlight!
The voice acting is fairly high quality and never feel out of place.
The moment to moment gameplay is really good, but the overall story isn't the best I have played.
I think some of the side characters are underdeveloped and I hope if there is a sequel that expands on the world!
The police station the game takes place in is really well made, it has a bit of a grounded feel to it as you're stuck and trying to escape one huge building.
Overall as a horror survival game the game does an exceptional job at having well paced puzzle exploration, horror stealth sections and more action filled setpieces in a healthy dose.
Criminally underrated game and well deserving of your time if you think it looks interesting!

Jawbreaker, developed and published by Vincent Lade, is a tense and oppressive first-person survival horror experience that immerses you in a fractured, post-collapse world where human desperation has replaced any semblance of order. Set after a catastrophic economic downfall that has left society splintered into violent factions, the game places you in the shoes of a scavenger sent by your dwindling gang to infiltrate a derelict police station in search of supplies. What should be a simple raid quickly twists into something far more unsettling, as the building’s abandoned silence gives way to the unnerving realization that you’re not alone—and that the danger stalking you is far more brutal than you expected. Jawbreaker builds its tension slowly, relying on atmosphere, audio design, and claustrophobic layouts to keep you second-guessing every step.
At the heart of the experience lies a blend of stealth and survival mechanics that demand caution and constant awareness. Ammunition is scarce, enemies are persistent, and loud actions attract attention in ways that can easily get you killed. This scarcity forces you to rely on shadows, hiding places, and distraction tools rather than brute force. Navigating the police station becomes a psychological exercise: each creak in the walls, each flicker of a distant light, each sound of footsteps around the corner feels like a threat pressing in on you. Hiding under desks, slipping into lockers, or using improvised tools to throw foes off your trail gives the gameplay a deliberate pace that rewards patience. When combat does occur, it is brutal and brief, reinforcing the idea that survival hinges not on strength, but on staying unseen.
The presentation is one of Jawbreaker’s standout qualities. Vincent Lade’s knack for environmental tension is evident in the way the ruined police station is constructed—dim corridors, scattered remnants of abandoned lives, and the oppressive architecture all feed into a sense of confinement. The lighting is particularly effective, casting heavy shadows that both conceal enemies and provide havens. Sound plays an equally crucial role: ambient noises echo through the halls, distant thuds hint at movement you can’t see, and the sudden crash of a door or shout from an enemy spikes the player’s anxiety. This careful balance of sight and sound creates a compelling atmosphere that elevates the game beyond its indie framework.
Despite its strengths, Jawbreaker’s mechanical execution can occasionally undermine its ambition. The stealth system, while central to the experience, can feel inconsistent or unforgiving. Enemies sometimes detect the player from improbable angles, and certain hiding spots don’t always function as expected, which can lead to frustrating restarts. Because the game limits ammunition so strictly, firefights rarely feel like viable alternatives, making the advertised “combat and stealth mix” largely skew toward the latter. These moments of imbalance can break immersion, especially when a single mistake leads to replaying long sections or watching repeated cutscenes. For players who prefer clearer stealth feedback or more balanced resource management, these issues may become sticking points.
The narrative, while compact, offers enough intrigue to support the game’s structure. The desolate world outside the station and the hints of betrayal or manipulation from your own gang layer additional unease onto an already fraught mission. Multiple endings provide replay value for those who want to explore different outcomes, though the overall story remains focused and tightly contained. The pacing oscillates between quiet, suspenseful exploration and intense, sudden encounters, giving the game a dynamic rhythm that keeps players engaged despite its limited scope.
Jawbreaker ultimately succeeds as an atmospheric, nerve-wracking survival horror title that will appeal most to players who enjoy tension over action and scarcity over empowerment. Its strengths lie in its mood, its immersive world design, and its emphasis on vulnerability. While its stealth mechanics and difficulty balance may frustrate some, those willing to embrace its demanding structure will find an experience that lingers after the credits. It’s a game that asks you to creep rather than rush, to listen rather than shoot, and to accept that survival sometimes means merely enduring long enough to escape.
Rating: 6/10

I'm sure it's a nice game, but it's always a risk with any Unity game, because you can't get custom resolutions to stick. Launch parameter command lines do work on "some" Unity games, but it doesn't stick with this one. Lost in Vivo has the same problem. Changing areas or a loading screen the display flickers and it defaults to whatever the dev has set internally. Changing resolution in-game switches to windowed on confirmation and while using ALt+F4 does work to switch to fullscreen, it also defaults the resolution.

I could approach 2 Doberman dogs who were guarding an area, one of them eating on a dead Human.
I was able to pet the other one, without getting attacked.
Confident know that I will try that in real life. Thanks Devs

i crode