Can someone explain why Deus Ex: HR is so great?
- Thread starter krazykidd
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I didn't like it so much either, but it was playable nevertheless. The distance in terms of value as a game between the original Deus Ex and Human Revolution is huge.
I will like to hear more about your opinion on the story. Want there ANY implication on the narrative that if Adam tried a third option it may backfire horribly and HAD to go along with it? Can you think of another game that pulled the "Cant take the third option without ruining everyone's life" (Besides Legacy of Kain of course)krazykidd said:
Also, maybe you SHOULD have played Deus Ex 1 to have at least a better understanding of why people think that it didnt surpass the original game (besides the fact that there is no replayability on the new on because it didnt have the specialization RPG elements of the original)
I like the stealth elements that aren't totally forced. You get to choose whether or not you want to stealth your way through a place and not be noticed, or you can somewhat stealthy and knock-out your opponents along the way, or start a fire-fight at every corner.
I personaly loved the game, and it was my own personal choice for GotY. As others said, however, this is a loaded question, and not much would be gained from me explaining why I loved the freedom of choice, the game's aesthetics, the issues raised, the dialogue and other things, so, we'll just leave it at that.
I loved it. I loved the setting (I personally LOOOVE to see what societies are like in Sci-Fi stories (like "In Time" or "Gattaca")). I loved the story itself. Yes, call me an idiot for doing so but i just love the Deus lore (though i did feel i just wanted to go on near the end).
The stealth was fun, imo. It had a good cover system, which made it work very well. Animations were rugged, as you mentioned. I loved the conversation system, side quests, different ways to handle missions, i dug the gold etc.
The stealth was fun, imo. It had a good cover system, which made it work very well. Animations were rugged, as you mentioned. I loved the conversation system, side quests, different ways to handle missions, i dug the gold etc.
I especially loved the story and the atmosphere, the whole "pick a side on the discussion" thing they had going on.
The gameplay itself wasn't as good as the original Deus Ex, IMO.
The bosses were absolutely terrible...I still don't know how to beat the final boss-object-thing, and I finished the game! So freaking clue what I did!
Lame endings are a Deux Ex family trait, I'm afraid.
The gameplay itself wasn't as good as the original Deus Ex, IMO.
The bosses were absolutely terrible...I still don't know how to beat the final boss-object-thing, and I finished the game! So freaking clue what I did!
Lame endings are a Deux Ex family trait, I'm afraid.
Okay, being in love with the game, I'm gonna have myself a little rant:
By means of gameplay it's in no ways revolutionary(no pun intended). It's a solid stealth game, but unfortunately if you play it guns blazing, it loses a lot of its inherent complexity and pacing. But what makes is absolutely amazing in my book is that it's the showcase point of "games can be art". The plot itself is much deeper than advertised if you're ready to actually embrace the very real dilemma it presents - in the age where machine is more efficient than man, at which point does a human end, and a machine begins? If my whole body is augmented, changed, upgraded mechanically, what does that make me? A robot? Something dead? Or is the very feeling of belonging to the human race, the feeling of identity make me human as long as I acknowledge it? This game's plot does a great job of presenting an actual, very real issue that becomes extremely intricate if you just find some time to think about it.
Moral dilemmas aside, this game is full of depth you can't even begin to scratch without extreme attention, which makes the content so rich and fulfilling. I cringe when someone says that the world of, say, Skyrim, is extraordinary because it's so big and full of stuff to do. Because it isn't. The hubs of DE:HR aren't very big, but they merge seamlessly into actual gameplay and are so detailed and vivid that you WANT to explore just to spot some things that let you put together the big picture.
The best example of this is Jensen's apartment, in which i spent around an hour wallowing in the sheer multitude of details that went into it. On the table, there's alcohol, a single glass, a rifle lying right next to the sofa. So Jensen is not only in chronic depression, he's also paranoid as fuck. Next, I look around the pictures, showing Adam and Megan, the remnants of his baseball career, military buddies etc. But then I see something that puts me in an entirely different perspective regarding Jensen - in the corner of the apartment, there's a tiny little table with clockwork equipment scattered around. And next I see a post-it note on the window, which reads: "The quick brown fox jumped over the lazy dog" scribbled terribly. And that brings me to the point which makes me regard the game as ingenious. Because nobody tells you what Jensen had to get through after his limbs were replaced. Before he was the awesome aug-superman. "The quick brown fox jumped over the lazy dog" is a phrase that contains all letters from the english alphabet. Jensen was teaching himself to write and control pressure in his hands by writing kiddy sentences and doing clockwork, all while grief over his fiancee that he couldn't save was eating away at him, and he wasn't even sure if he could call himself a human being anymore.
If you take your time to appreciate things like these in video games, no, in all of art, you might grow up to recognize that there are works of fiction that are good and expansive (say, Mass Effect) and there are pieces of art that are something more.
I'm not even presenting the best visual design in video game history, something more on par with Blade Runner than any sci-fi movie of the last decade, and maybe, just maybe, I made you look at video games like more than just things you play. Like something you experience, and something that immerses you.
By means of gameplay it's in no ways revolutionary(no pun intended). It's a solid stealth game, but unfortunately if you play it guns blazing, it loses a lot of its inherent complexity and pacing. But what makes is absolutely amazing in my book is that it's the showcase point of "games can be art". The plot itself is much deeper than advertised if you're ready to actually embrace the very real dilemma it presents - in the age where machine is more efficient than man, at which point does a human end, and a machine begins? If my whole body is augmented, changed, upgraded mechanically, what does that make me? A robot? Something dead? Or is the very feeling of belonging to the human race, the feeling of identity make me human as long as I acknowledge it? This game's plot does a great job of presenting an actual, very real issue that becomes extremely intricate if you just find some time to think about it.
Moral dilemmas aside, this game is full of depth you can't even begin to scratch without extreme attention, which makes the content so rich and fulfilling. I cringe when someone says that the world of, say, Skyrim, is extraordinary because it's so big and full of stuff to do. Because it isn't. The hubs of DE:HR aren't very big, but they merge seamlessly into actual gameplay and are so detailed and vivid that you WANT to explore just to spot some things that let you put together the big picture.
The best example of this is Jensen's apartment, in which i spent around an hour wallowing in the sheer multitude of details that went into it. On the table, there's alcohol, a single glass, a rifle lying right next to the sofa. So Jensen is not only in chronic depression, he's also paranoid as fuck. Next, I look around the pictures, showing Adam and Megan, the remnants of his baseball career, military buddies etc. But then I see something that puts me in an entirely different perspective regarding Jensen - in the corner of the apartment, there's a tiny little table with clockwork equipment scattered around. And next I see a post-it note on the window, which reads: "The quick brown fox jumped over the lazy dog" scribbled terribly. And that brings me to the point which makes me regard the game as ingenious. Because nobody tells you what Jensen had to get through after his limbs were replaced. Before he was the awesome aug-superman. "The quick brown fox jumped over the lazy dog" is a phrase that contains all letters from the english alphabet. Jensen was teaching himself to write and control pressure in his hands by writing kiddy sentences and doing clockwork, all while grief over his fiancee that he couldn't save was eating away at him, and he wasn't even sure if he could call himself a human being anymore.
If you take your time to appreciate things like these in video games, no, in all of art, you might grow up to recognize that there are works of fiction that are good and expansive (say, Mass Effect) and there are pieces of art that are something more.
I'm not even presenting the best visual design in video game history, something more on par with Blade Runner than any sci-fi movie of the last decade, and maybe, just maybe, I made you look at video games like more than just things you play. Like something you experience, and something that immerses you.
This. I was absolutely astonished at how they developed Adam Jensen. And the broken mirror!, like he just couldn't look at his new self, being so dramatically changed and feeling guilty as he wasn't able to save Megan. And him breaking the mirror wasn't a one time thing - the landlord also purposedly didn't pick up the new one, because she knew he would break it again, noting that this was something that was happening frequently.SCHABIQ said:
Adam Jensen is one of the most interesting and fascinating characters that I had the pleasure to get to know in a game, and he makes Deus Ex: Human Revolution even more amazing. Surely best game of 2011 and a incredible look at the future and at the moral and philosophical questions that its society rises.
As a story-driven game, I lost interest halfway through. I would rather have the story be completely about augmentations, instead of the conspiracies surrounding them. That, or have something like:
Finding out one of Sarif's competitors is an AI with an army of dummy augs.
Discovering a customer is re-selling augmentations to a genocidal warlord and is threatening blackmail with fabricated evidence saying Sarif Industries supports genocide.
The introduction is now the finale, except now it's the humanists attacking, they have a nuclear bomb, and they've hacked augmented employees to be human shields.
Finding out one of Sarif's competitors is an AI with an army of dummy augs.
Discovering a customer is re-selling augmentations to a genocidal warlord and is threatening blackmail with fabricated evidence saying Sarif Industries supports genocide.
The introduction is now the finale, except now it's the humanists attacking, they have a nuclear bomb, and they've hacked augmented employees to be human shields.
Must be Adam's deep throaty voice and ability to snark with the best of them. I will say I did like the "conversation bosses" you actually had to pay attention too and react accordingly to talk them down. And yeah, Adam was a well-established character until the very end, then the Endingtron 3000 kind of spoiled the experience.
Also, four words. "Any time, fly girl."
Also, four words. "Any time, fly girl."
It was okay, there were a few things that made it less than par for me.
The hardest setting was still silly easy.
The boss fights were boring.
The ending o tron.
To many praxis points, I didn't have to make any hard choices when designing my character.
For all that it was still an enjoyable game, and I'd recommend it to a lot of people but it certainly wasn't exactly as I imagined it would be.
The hardest setting was still silly easy.
The boss fights were boring.
The ending o tron.
To many praxis points, I didn't have to make any hard choices when designing my character.
For all that it was still an enjoyable game, and I'd recommend it to a lot of people but it certainly wasn't exactly as I imagined it would be.
Couldn't get through it, actually, for purely stupid reasons. Basically I got really OCD with getting XP, which meant I convinced myself I had to hack every single computer and read people's banal e-mail conversations. So then I find myself in a deserted building full of unhacked computers and go "fuck this, I'm going to go play Hat Fortress 2 instead."
Also, I already accomplished my main goal upon purchasing the game, which was to re-enact the tank scene from Ghost in the Shell.
There were some really cool things about the game, though - I like the less-linear levels, really like the way some of the conversations were designed (the "conversation boss battle" thing is legitimately cool and should be at least considered by everyone making this sort of game from here on out), and like the visual style (although if it was about 37% less yellow, it would be even better).
Also, I already accomplished my main goal upon purchasing the game, which was to re-enact the tank scene from Ghost in the Shell.
There were some really cool things about the game, though - I like the less-linear levels, really like the way some of the conversations were designed (the "conversation boss battle" thing is legitimately cool and should be at least considered by everyone making this sort of game from here on out), and like the visual style (although if it was about 37% less yellow, it would be even better).