I’m way into stealth, moral choices, non-lethality challenges, and even ideological debate can be pretty fun, so Human Revolution is the sort of game I wouldn’t miss. Unfortunately, none of the things DXHR tried to do were handled perfectly, and the Director’s Cut hardly improves things. Maybe it’s exceptionally difficult in most cases to make deep changes to an existing game. Maybe they team has gotten too close and cross-eyed to see what hadn’t worked. Or, more likely, maybe it’s just typical to put a small team to work on it with a toothless pittance of a budget compared to what the actual sequel was afforded. In any case, I have a number of suggestions that would have made DXHR more to my liking.
Energy is the best change of the Director’s Cut, but it’s a band-aid fix, and it remains an issue. The original game allowed only one energy bar to recover after use without the aid of consumable items, which incentivized terribly boring strategies, like standing behind a corner and throwing a crate at the wall, so that when a solitary guard turned the corner to investigate the sound, you could knock him out without anyone seeing, and then stand still for fifteen seconds while your energy recovered from the takedown. The AI hasn’t gotten much smarter since the original version, and this still remains an effective strategy for creating piles of comatose guards away from the cameras, but now at least there are two recovering energy bars by default, so you don’t have to burn through consumables like a chump in order to do anything complicated, like using two quick takedowns in sequence, or employing a cloaking device to get in closer.
But upgrading beyond the default two energy bars is still a waste of experience points. Why does the game treat energy bars beyond the second one differently? I’m sure there are a number of ways to cheese things if the player constantly has a pool of energy that large, but you could try all sorts of tweaks to keep things interesting. Change the rate of energy recovery, so it shoots back up when Jensen is stationary, but doesn’t recover at all if guards are alert. Change the way the cloaking device functions, so you have to be stationary to remain cloaked.
It would always be satisfying to see guards and security systems get smarter. Laser grids and passcodes are so easily bypassed as to appear condescending, and guards will go very far out of their way to investigate noises by themselves, even when two or more heard the same sound. The game could also be a lot better about communicating their states of alertness, which is particularly troublesome when going for a no-alarms achievement, when some levels trigger unavoidable states of alarm just as part of the story. No-kill progress is also very difficult to keep track of, and a statistics menu to show how many kills or alarms have happened so far in the game would’ve been extremely helpful, if for achievement-gathering only.
I’d also love to see the canned stealth takedown animations disappear, replaced with abilities equipped to some kind of melee augmentation slot. By default, perhaps you could put a guard in some kind of sleeper hold from behind, but from in front the guard might need to take a few noisy punches. Maybe equip Jensen’s fingers with some kind of knockout drug syringe ability to do things with less fuss, or just get messy. Having a melee attack to break glass would be useful too. More useful would be a proper guard-carrying state that you could go into right out of a takedown, instead of just awkwardly pulling their ragdolls around.
DXHR seems to have no understanding of how its mechanics incentivize player behaviors, as the best rewards in terms of experience points are also the most tedious ways to get a job done, like hacking a console the player already has the access code for, or crawling across the room to use a melee takedown when a tranquilizer dart would have worked just fine. Hacking is a lot better than it has been in many games like Mass Effect 2 and Fallout 3, to say nothing of lockpicking mechanics found across countless CRPGs, but it’s also unsatisfyingly RNG-based, as are, surprisingly, the game’s conversational showdowns, in which the correct answers to convince a person are partly randomized.
There was a game called Uplink that would have been a great source of inspiration for a puzzle-oriented approach to DXHR’s hacking mechanics. Particularly the way LANs were handled, where the player could infiltrate a network from different machines with different starting coordinates and access privileges. Rather than rolling dice and reloading until big numbers beat smaller ones, Jensen could potentially rehack into each computer as many times as he likes, trying to find the machine that can directly unlock a door or disable a nearby alarm panel without having to get through some kind of firewall first, and might buy upgrades that help him circumvent a variety of new digital obstacles.
The boss fights went from being frustrating to merely disappointing in the Director’s Cut. While it was neat to see the arenas get extended, all the sneaking and hacking added in still takes place mid-fight, rather than being something that could be used to ghost the whole game. I found that hacking a turret to shoot the bullets at the boss so I didn’t have to do it myself wasn’t any more fulfilling. The mandatory boss fights are still just soldier pawns that aren’t important to the story, and there was little reason the player couldn’t have dragged them onto his escape chopper in cuffs or allowed them to retreat forever in disgrace–at least, not when compared with the contrivances the game’s story routinely did afford itself. With the new changes, it might be harder now for a player to meet an unsurpassable wall with their non-combat build, but the sequences didn’t suddenly become fun or interesting.
As a story-heavy game (with often-unskippable dialogue) it’s important to spend the time looking at what that story offers, too. It’s enjoyably absurd at times, but just as often contrived and obtuse. While it’s obviously trying to paint over conventional ideas of futurism with a morally grey, nuanced, and potentially bleak picture, it misses nearly every good point it could have made, such as drawing parallels with real-world detrimental effects of narrow-minded Silicon Valley tech bros and anybody who ever gave a TED talk about how to solve Africa. Manufacturer exploitation to the point of slavery. Environmental damage and conflict minerals. Gentrification. And so on.
Instead DXHR pins crimes on “unchecked scientific experimentation”, which, for the most part, seems a bit more like a 20th-century problem to me, and for counterpoint we’re asked to believe in the merits and likelihood of a religious organization which posits that nature knows best and having a robot arm pollutes your soul. Never mind that Nature Is The Worst Thing and social darwinism is the opposite of what society needs, I couldn’t care less if some Southern Baptist one day invoked God against the prospective of me having a shiny prosthetic arm with my wallet and MP3 player inside of it. Neither would anybody else I’ve ever met. We’re even expected to believe Jensen is a real person as he laments the awesome billion-dollar body he was given but “never asked for”. In the first place, any player who’d sympathize with that viewpoint wouldn’t have bought a game with a badass cyborg on the cover.
Essentially, much like a media network which puts a climate change denier in the room, the game seems to congratulate itself in its attempts to show an honest picture, by adding extreme and insane points of view to an open-and-shut case while avoiding the harder problems.
Their grim anti-futurist take is only truly successful when it’s introducing us to neuropozyne: a drug used to prevent the body from rejecting augmentations, which is expensive and must be taken regularly. Without requiring a deliberate scheme on the part of anybody, this exacerbates the already stark line between the rich and poor, and soon creates new twisted models for forced prostitution and indentured servitude in a capitalist system. But even this problem is shown to be an obsolescent one with the very plot point that the game uses as a starting block, so why would the audience be anticipated to hold back in this world?
These aren’t the only places where the story shows weaknesses, either. Notably, I still have no idea why Sarif needed a backdoor in his company’s security network just to communicate with a private investigator about a potential hire. I suspect it was some contrivance to try and get the audience smoothly from “investigating the attack on the company” to “learning about the hero’s backstory”, but they could’ve done better.
Now, I don’t mean to say that every idea and piece of writing in the game is bad. Augmentation is also shown to make people vulnerable to having their own bodies “hacked”, which is frightening (though, I might argue, probably not as much as a number of diseases a cyborg body could also prevent). Naturally building the player’s suspicion against the biochip recall was very well-handled. And the Harvesters–an organized Chinese street gang whose muggings leave people in alleyways bleeding out from the stumps where their augmented legs used to be–are also a creative and scary notion. Malik is a wonderful character and I couldn’t imagine leaving her to die in any playthrough. While I couldn’t say the same for too many others, I did come around to liking Pritchard, as I was supposed to.
As is often a problem in spectacle games like Tomb Raider, DXHR uses cutscenes to railroad its protagonist into doing things nobody would do, and while it’s pretty annoying when Jensen doesn’t punch Zhao’s lights out as soon as he meets her for the first time, thus allowing her to cause trouble for him, it’s far more frustrating the second and third times it happens and he shows that outside of player control, he doesn’t learn his lesson at all. This one stands out for me among the story’s problems, because it’s a clear problem unique to games, and yet games obstinately refuse to stop doing it.
I really wanted to like the conversational debate system. Certainly, it stands out, and they recorded a lot of voice acting to segue into different arguments and respond in multiple ways to the same player input. But I already mentioned the unskippable dialogue and randomized elements, and combining these together, this can mean actually being forced reload and listen to five minutes of dialogue again even if you know exactly what you’re doing (I suppose you’re supposed to roll with the punches and not succeed in each playthrough, but this is the wrong way to go about it). I was amazed that it functioned this way in the first place, let alone that the Director’s Cut did nothing about it. Once combined with the game’s generally weak ethical positioning that becomes the source of these debates, they’re just another creative idea that fails in execution.
That’s Human Revolution in a nutshell. It’s a little fun. Really, it’s not bad–there are some very cool environments and great visual design, memorable sidequests and interesting characters. But it wears out, and I’d be surprised if many people got to the endgame without feeling that it was becoming a traipse, crawling through vents and incapacitating guards with the same canned animations they were using in the beginning. The over-the-top story could’ve been fun if it took itself less seriously, but it would’ve been even better to keep certain outlandish aesthetic elements while writing something that was socially aware on a less superficial level. I wish the Director’s Cut had been bolder, but I’ve seen enough “enhanced” rereleases of games to have realistic expectations by now. And while it’s harder to say where my expectations should be for the sequel, I’m still very interested to see what that game brings.