One antagonist is a wealthy Chinese woman with a lavish home.Another major location is a Triad-run bar. A major mission involves infiltrating a Chinese, Illuminati-owned biomedical company (Versalife/Tai Yong).You first meet some of the major villains in your boss’ office, though they may just be holograms.An ally (Paul/Malik) will advise you to leave them and run when the two of you come under attack.An arms dealer in your home city will give you a discount if you save a friend of his.Another involves rescuing hostages who may die if you aren’t careful. A major early mission involves finding and disabling an antenna, which is important for vague reasons you won’t see firsthand.Depending on your actions, they may die later in the game. A recurring pilot character (Jock/Malik) provides transport between major locations. By later in the game, no-one will care about little details like how many civilian casualties you caused anymore. After your first big mission, everyone back at the office will have comments to make about how you did (including the aforementioned ladies-toilets-comment).Spoilers below for both games, obviously. But when both games fly you home afterwards to discover your (American) home city is now under lockdown due to civil unrest, you do start to wonder if we really had to hit that same note again.īecause it amused me, I’ve made a list of most of the more suspiciously familiar stuff I caught in both titles. There’s nothing wrong with the fact both games send you to a Chinese city to meet a triad leader called ‘Tong’, either ‒ one’s the other’s father, that’s just basic narrative continuity. Some examples are pretty benign: the chatty tech guy in your earpiece in both games is really just a genre staple, and the fact someone will give you grief for going in the womens’ loos seems like a pretty intentional callback. Though it’s of an exaggeration to suggest that DX:HR follows the original beat-for-beat, some of the recycling does feel a bit lazy. More questionable are the number of plot beats that reappear in the sequel. There are unlockable skills that let you lift heavier boxes or move silently, grenades that can also become proximity mines, alcoholic beverages that make your vision fuzzy ‒ it’s basically all here. You can sneak up on guards having a conversation, throw a box to distract them, then stash their bodies in a vent. There are multiple routes into most locations (often including vents), and hackable, password-protected doors, terminals and computers full of significant email conversations everywhere (often only feet away from conveniently UNsecured devices containing the password you need). No chest-high-walls or 3rd-person-cover-shooting, but you’ve got your grid-based inventory full of upgradable lethal and non-lethal weapons, your stealth-vs-guns-blazing gameplay options, your patrolling guards who may run to hit an alarm button if they spot you, and so on. Gameplay-wise, it was far more like HR than I’d been led to expect.
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