Are you ready to take another augmented leap into the future? It’s been two years since the traumatic conclusion of Human Revolution, and, regardless of which of the game-ending buttons you (as robotic sunglasses fanatic Adam Jensen) happened to press, the outcome is the same - mankind and the augmented no longer live in harmony.

It can lead to strange conversations with NPCs after missions, where you may have accidentally killed one enemy and they speak to you like you are a serial killer, but it’s nice to see some consequences to optional objectives not being completed and the order things are done having some impact - even if ultimately the situation turns out the same way regardless.

While there are certainly always two or more ways to achieve most objectives, the reality comes down to hack a computer/keypad, find a handy vent or shoot up the place. There is still variety to be had though, particularly with the, albeit inconsistently-implemented, social augmentation, which returns from the last game, which gives you clues to navigate a conversation and persuade your foes with carefully constructed responses.

Those in the mood for combat won’t be disappointed, with a wealth of new augmentations - which it turns out were buried deep inside Jensen all along - and a weapons system which has just the right amount of variety without becoming laboured and complex.

The trouble is that the game really really wants you to play it quiet. It makes perfect sense of course, why would Interpol, which Jensen now works for after being a company man in the last game, want to attract unnecessary attention? The answer is that they wouldn’t, and so you find yourself awkwardly navigating ledges and knocking enemies out to get the job done.

The AI makes your life easier in this respect, as Jensen seemingly can get away with most things without being particularly subtle at all. In his own HQ the security feels particularly lapse, with no one batting an eyelid as he breaks into one password protected computer terminal after another, reading emails and disabling security countermeasures.

All of this is merely following the rules of ‘being a game’ of course, and that’s where Mankind Divided feels the most at home. Its physics puzzles, hacking mini-game and searching for keycards feel like something from a bygone era, now that single player games in particular are embracing that cinematic feel more and more.

There’s shades here of pivotal games like Half-Life 2, but it’s easy to forget that that game came out 12 years ago, and so for some Mankind Divided may run the risk of feeling archaic.

The rules it does follow though it does with great balance and precision, there might not be as deep and interesting characters as you might find in something like Mass Effect, but there’s just the right amount going on to keep you hunting for that next objective, without overwhelming you with a map full of meaningless symbols and a seemingly endless list of side quests.

The setting changes a few times as the story begins to unfold - a fairly unoriginal, but compelling mix of politics, conspiracy and intolerance - and as Jensen begins to make more use of his augmentations he becomes more and more in control of every aspect of the world, even on normal difficulty.

The world doesn’t feel like it has the cool factor in the same way as Human Revolution, something which is clearly intentional as the heavily stylised aesthetic of a world in a golden age gives way to a derelict and dilapidated setting which reflects the mood of its inhabitants (again, without much subtlety).

Those who haven’t played the previous title needn’t worry, as a 12 minute recap video gets you up to speed with the basics, and, despite bombarding you with names, few story threads and characters really follow through, and those that do have exposition of their own.

In the end the game really reflects the world it tries to portray accurately, giving you reason enough to care about what is going on and structuring its gameplay accordingly. If you’re expecting an arresting story to carry you through then you may leave disappointed, as really it’s the gameplay here which wins the day.

While it might not be for everyone, Mankind Divided proves that you don’t need to reinvent the wheel to create a game which is fun to play, and if that’s all you’re after then you will be absolutely satisfied.

Pros

• Solid gameplay feels familiar and is genuinely varied
• Some very cool augmentations on offer
• ​Missions are diverse enough and not overwhelming

Cons

• Could be too much of a love letter to the previous game for some
• ​Most NPC character models look flat compared to Jensen
• Only extreme playstyles reap the best rewards

Score 8/10

A look at the wonderful world of Armikrog.

Originally released on PC earlier in the year, Hyper Light Drifter recently made its way to Xbox One and PlayStation 4, but is Heart Machine’s retro-inspired RPG worth console owners’ time? In short, yes - but read on to find out why.

At the beginning of the game you have two attacks at your disposal, plus a drift boost for dodging incoming fire and leaping small gaps. A light sword and sidearm are the weapons of choice at first, but there are a number of guns and alternate attack moves to unlock as you progress.

These include a shotgun type for close quarters (very useful for hit and run attacks in combination with the drift mechanic), a rifle which can cut through multiple enemies at once, and a powerful hand cannon that fires giant balls of energy and is capable of decimating smaller enemies and dealing hefty chunks of damage to larger ones (a personal favourite).

Ammunition is not found, instead it is replenished through the destruction of objects or by landing melee damage on enemies, the latter of these offering up the greater reward. It’s a clever system, one that stops the player relying solely on ranged attacks and encourages them to embrace the frenetic close-quarters action.

All this takes place in an open world made up of five regions. The central town (used as a hub area for upgrades and down time) is bordered by four neighbouring districts, each featuring their own unique style and enemies.

Your main task is to find and activate a number of modules in each region and deal with whatever boss is residing there. It all looks simple enough when viewed upon the map, but it’s rarely a case of simply walking to the desired destination.

Some modules require convoluted journeys in order to locate them, leading you through dungeon-like underground sections made of multiple levels. The vague map isn’t much help, and as a result it’s easy to end up going in circles, which can quickly get frustrating. Maybe it’s my poor navigational skills, but finding the last elusive module was often just a case of wandering around in the hope I would eventually stumble upon it.

Being able tackle the lands in any order you wish helps keep things from growing stale or repetitive, however. If you become tired of the flooded lands to the east and its ninja star throwing, giant frog occupiers, then you can always head north to a more mountainous land for some battles with vulture creatures.

​Approaching each fight for the first time is exciting, but is best treated as more of a recon than a serious attempt to emerge victorious. Some were markedly easier to beat than others, but for the most part it’ll take more than a few attempts in order to learn each bosses’ attacks and how best to counter them. Whittling down the sizeable health bars and eventually landing the final blow after a particularly gruelling fight is very satisfying, and makes all the failed endeavours leading up to victory feel worthwhile.

Taking on the game’s standard enemies is by no means less enjoyable, although sometimes things can get a little overwhelming when you encounter the horde mode like set pieces and the screen is filled with multiple enemies at once, each launching a variety of attacks. Much like boss fights, coming out on top in these moments can be very rewarding, and the game does well to make you feel like a proper bad-ass thanks to a nice little animation after victory.

​As was mentioned earlier, Hyper Light Drifter is decidedly lacking in the script department. Knowing the game works as a metaphor for creator Alex Preston’s heart condition does add depth to proceedings, and gives the seemingly un-killable shadow-creature haunting the footsteps of the protagonist more sombre undertones - but as far as the in-game story goes, it’s open to interpretation.
 
This may be a deal breaker for some, but personally it’s nice to see a game for once not undoing its own sense of mystery and intrigue by explaining things too much. All that’s clear is that things are not right in the land, and you as the player are the person to set things straight, despite battling an unnamed illness.
 
What information there is to be gleaned from the well-directed cut scenes is enough to entertain, while a suitably atmospheric accompanying score is a more than worthy replacement for words in most cases, helping to deliver some powerful imagery.

Hyper Light Drifter manages to condense solid gameplay and fast paced combat into a neat 8 – 10-hour package (add a couple more if your fussed about finding all the hidden outfits and extras), delivering a solid, streamlined and enjoyable action-RPG experience, definitely one that shouldn’t be missed.

Pros

• Some impressive visuals
• Each region feels unique
• A decent variety of enemies
• Combat is fast, fluid and satisfying

 
Cons

• The map isn’t very useful
• The lack of a story in the traditional sense may bother some
• The upgraded drift boost can be difficult to master

 
9/10

The game engine also finds itself lacking, even after an upgrade, as Telltale’s well-established technical hitches remain present and accounted for. They may occur less frequently, but we’d expect noticeable frame drops, momentary pauses, occasionally limp - even entirely missing - sound effects and distracting jagged edges to have been ousted. ​

Whilst the series is entirely Telltale’s own, tying directly into no established arm of the franchise, the detective scenes lean heavily upon those from Batman: Arkham Origins. You’ll analyse clues within a crime scene and make physical links between the evidence in order to build a picture of what happened - once it’s fully fleshed out, the scene will play back in full. It isn’t particularly mentally taxing, but playing as the World’s Greatest Detective is engaging nonetheless.

The same mechanic is later recycled to formulate a plan of attack, which will go off without a hitch whatever approach you might choose (provided you hit the QTEs in time, of course). This illusory choice is something you’ll have to learn to live with in order to glean the most from the experience, but it does become slightly egregious when characters spout total inaccuracies. After interrogating a goon through the sole means of intimidation, Alfred chastised us for having “gone too far” in “beating him half to death”. Finally gone senile, eh?