RPG’s are no strangers to moral choice. Would you abort a puppy, or kill its mum? These are important issues for the educated super-soldier to consider, and they’re given the respectful treatment they deserve: thrown at you in-between killing aliens, and then never mentioned again. But it’s good to know that after the half-minute multiple choice quiz, you’re fully equipped to handle the puppy abortion issue in real life.
Deus Ex: Human Revolution does something different. The entire game is framed around a single moral question: What do you think about Human Augmentation?
Each moral dilemma in the game is asking you to think about this central issue. And as you jet around the world to explore each new exotic locale, you’re also exploring every side of the augmentation debate. You sneak, hack, talk or fight your way through biotech firms, anti-augmentation terrorist cells, the slums and the ivory towers. And the game never stops asking you what you think. What’s the right action in this situation? What about this one? Each quest that ends with a choice acts as a hypothetical question on a certain aspect of augmentation. Each time you make a decision, you’re cementing and refining your own philosophical stance on Human Augmentation.
And so, of course, the game ends with a choice. It’s the culmination of everything the game has asked you so far, and it’s informed by all the information you’ve been given throughout the game. Like the ending choice of Deus Ex, it’s about the world, and what path you think the future should take. It made me stare at my screen for a very, very long time.
I jogged around in circles. I dropped all my weapons and items in the centre of the room. I crouched, and pretended Adam Jensen was meditating.
When I made a decision and saw the end result, I felt like I hadn’t just been educated about Human Augmentation: By playing through this game, I had formed a full opinion on an issue that I had never cared about before. Deus Ex introduced a lot of concepts, and quoted a lot of people, and it was incredible to see that from a game about shooting people. But it never fully filled you in on any of the questions it raised; it introduced you to them, and expected you to educate yourself. Human revolution keeps it low-key, and it’s characters rarely quote anyone. Instead it focuses on this single issue, and tries to show you how it would affect the lives of real people.
Some spoilers about the ending in this paragraph- no specifics, just the way it plays out. The game ends with the best use of the slideshow-with-voiceover ending I can imagine. The voiceover seems to be speaking about the modern day. The cutscene uses real, live-action stock footage; towards the end, it shows some of the cybernetic prosthesis that are in use now. What it’s saying is; this is real. This issue, and the opinions you’ve now formed on it, are real. Our game hasn’t been making you form an opinion on each faction of a fantasy world; it’s been giving you the tools to engage with a real issue that is about to become very important.
And it’s still so great to see that from a game about a rogue super-soldier who punches people in the face.
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Professional and singer Patrick Bruel ended up being one among France’s biggest stars over the ’90s, first making the name
being a teen idol and leading a return to traditional
French chanson inside the new millennium. Bruel was given birth to
Patrick Benguigui within Tlemcen, Algeria, on, may 14,
1959. His father abandoned a family when Patrick
was merely a year old, including 1962, after Algeria won its independence, his mother moved to France, negotiating in the
Paris suburb associated with Argenteuil. A fine soccer player within the youth, Patrick first settled on the idea of becoming a artist having
seen Michel Sardou perform in 75.
As luck might have it, acting would get him his first success; first-time
movie director Alexandre Arcady ran an advertising seeking a fresh man which has a French-Algerian (or “pied-noir” in French slang) accent for his movie
Le Coup dom Sirocco. Benguigui (as having been still
called) responded and gained the business. The next year,
he spent time in New york, where he found Gérard Presgurvic,
later to get his most important songwriter.
Source: http://www.joguei.net/games/profile/377925/SvPorcelli.php
Professional and singer Patrick Bruel ended up being considered one of France’s biggest stars
during the ’90s, first making the name as a teen idol and leading a
return to traditional French chanson from the new millennium.
Bruel came into this world Patrick Benguigui
within Tlemcen, Algeria, on, may 14, 1959. His or her father abandoned a family when Patrick was only a year old,
and in 1962, after Algeria earned its independence, his mom moved to France, settling
within the Paris suburb connected with Argenteuil.
A good soccer player within the youth, Patrick first settled
on the idea of as being a artist having seen Michel Sardou perform in 75.
As good luck might have it, acting would take him his first good results; first-time overseer
Alexandre Arcady ran an ad seeking a fresh man along with a French-Algerian (or “pied-noir” in German slang) accent for his picture Le Coup hun Sirocco.
Benguigui (as having been still called) responded and acquired the business.
The below year, he spent time in New York City, where he attained Gérard Presgurvic, later to become his primary composer.
Source: http://www.e-jokes.gr/games/profile/262425/ZDLJa.html
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