Deus Ex: a game so good it gave us actual neuroses about its sequels. Invisible War, a shonky but interesting and sometimes hilarious shooter, became reviled as a crime against gaming for declaring itself to be Deus Ex 2. And when Human Revolution started looking seriously, seriously good, none of us could quite believe it.

But it happened. This third game has the wealth of alternate routes and versatile tools that made Deus Ex great, and expands it with huge city hubs, packed with more sidequests and background story than the original ever had. It reworks the system for augmenting yourself to give you trickier choices between more powerful abilities. And all of those abilities are more slickly designed and satisfying to use. It’s not better in every way, by any means, but nothing else comes this close.



It’s an action game, which our neuroses tell us is automatically bad, but most of the concessions to blockbuster accessibility are genuinely, and surprisingly positive. Melee was almost comically unconvincing in Deus Ex 1: now it’s jaw-droppingly brutal and consistently satisfying. A cover system seemed like a frightening departure, but it ended up making for a much more developed and complex stealth option.

Mainly, though, it’s just so good to have it back. It’s Deus Ex! But shinier! And we haven’t played it through 26 times yet! And DLC is coming out for it! And everyone’s sharing stories about the incredible things that happened to them, and all the ways the quests can play out, and all the people they punched in the face, and what aug builds they want next. Deus Ex 4 is bound to be shit, though.

Read our Deus Ex: Human Revolution review for more.

Highly recommended: Battlefield 3, Orcs Must Die!

This feature originally appeared in PC Gamer UK 230.

Most gamers have a secret shame. There’s always one classic title everyone raves about that you never quite got around to playing at the time – either because nobody was raving about it back then, or because you played the first level and couldn’t make head or tail of it.

It’s a quirk of PC gaming: a lot of our true classics, particularly the old ones, are baffling or intimidating to play. It’s their complexity that makes them so great, but it’s also what makes them off-putting if you don’t immediately grasp how they work. A game that gives us a great amount of freedom also gives us the freedom to miss what’s good about it.

So we moan at each other, endlessly, to play the things we love. Graham, how have you still not played Deus Ex? Rich, why would you skip Morrowind? Craig, you like crosshairs! Play IL-2 Sturmovik!

It’s time to find out what we’ve been missing all this time.

Graham Smith - Deus Ex

What is it? A first-person RPG set in a cool, trans-humanist future with nanotechnology, robot arms, vast government conspiracies and people who wear shades indoors.
How late? 11 years.
Excuse for lateness: I was obsessed with Half-Life and Counter-Strike at the time, and paid no heed to what seemed like another shooter.

Deus Ex has been at the summit of PC Gamer’s annual Top 100 for the last two years, and in the top five for most of the time before that. I’ve also played the opening chapter of its second sequel, Human Revolution, twice. Yeah, it’s kind of ridiculous that I haven’t played the original.

The first thing I notice is the game can’t run at 1920x1200. Tom recommends Deus Ex Launcher to fix that, so I download and install it. The second thing: all the characters sound like a Dalek with a heavy smoking habit using an electronic voice box. I turn off Direct Sound in the launcher and try again. It works! Enter JC Denton, super-agent.

I skip the opening cutscene – I’ve seen the edited version on YouTube, so I’ve already got the gist. Electronic old men, whatever. I also hop past my brother Paul on the docks of Liberty Island, leading him inland before starting our conversation. When we’re done, I’ve got the crossbow and there are four terrorists waiting to kill us. Paul takes them all out while I hide and loot their bodies. I’ve now got a pistol, a knife, a baton and some cigarettes. I love this game already. And then I die, and die, and die and die.

The enemies are totally incomprehensible. Sometimes I’m directly next to them and they can’t see me. Sometimes they psychically know I’m behind them when I’m sneaking. They’re so stupid that I can’t predict their behaviour.

Eventually, I reach some crates piled next to the base of the Statue of Liberty and start to climb up. It’s an alternate route! Everything I’ve ever heard about Deus Ex is true!

I fall off near the top, but succeed on the second attempt. I shoot and stab my way to the terrorist leader. He surrenders, so I pepper spray him in the face. He runs back and forth across the room while a UNATCO soldier arrives and tells me they’ve killed all the terrorists; they were right behind me the whole time. Hey, doesn’t that make my role totally irrelevant?



Back at UNATCO HQ – also on Liberty Island, making the whole terrorist thing pretty embarrassing – I meet Manderley, Gunther Hermann and Anna Navarre, the latter two of whom are instantly great. I hear the orange soda conversation. I access Gunther’s emails and read about his idea for a skull-gun. I’ve never played this, but it all feels familiar, as if I’m visiting a famous PC gaming tourist destination. I spend another 30 minutes in UNATCO headquarters, stealing and chatting and being told off for going in the ladies’ toilets.

When I’m done, Anna Navarre and I head to Manhattan. I remember hearing something about her being evil later in the game. Is there enough freedom that I can kill her now? A few moments later, when I’m dead, I discover the answer is no. I also find that there are no auto-saves, not even when you start a new mission, and not even when it says ‘Saving’ on the screen. Crap.

I’m back on Liberty Island, and this time I shoot the terrorist leader in the head before even starting a chat. Manderley tells me off for it, but Anna is impressed. I think this time I’ll try not to kill her.

I’m hooked. All these years later, Deus Ex is clunky and in a lot of ways old-fashioned, but its style, sense of humour and impressive ability to make the player feel inventive mean it’s still totally worth playing.

Craig Pearson - IL-2 Sturmovik: 1946

What is it?WW2 flight sim. Pilot mechanical marvels as they hurtle through the clouds battling for sky-based supremacy
How late? 5 years.
Excuse for lateness: I’m terrible at flight sims. Whenever I step into a sim’s virtual cockpit, bad things happen.

When most people flick the virtual switches of their cockpits, they imagine getting the kill count of German World War II fighter pilot Erich “Bubi” Hartmann (352). Me? I just want to be PC Gamer’s resident flight-sim expert Tim Stone (0, hopefully).

When IL-2’s training chocks are, er, chucked it’s clear I’m no Tim Stone. Even the menus are terrifying. Where he can gracefully ascend this rickety tube of metal into a sky full of Nazis and return with his cup of tea unspilled, my sorties suck.

The training seemed to go well. I’m methodically walked through the surprisingly simple series of switches to flick to get the gleaming Ilyusha into the skies: start the engine, fix the flaps, put the throttle up… I was up in the air before you could say Marmaduke Thomas St. John “Pat” Pattle (51+ kills).

It was a little too easy. Where was my usual veering awkwardly off the runway into neighbouring fields? Why wasn’t I crying and on fire right now? That’s how it’s supposed to go with me, joysticks and complex flight models. Either reading Tim’s words had somehow imbued me with the skills of Theodor Weissenberger (208 kills), or something was wrong.

Ah. Turns out I wasn’t in control – IL-2’s training missions aren’t interactive. It was all in my head.

Outside of my mind, things are as they should be. I grasp the AV8R-01 stick sat in front of my keyboard and go through the pre-flight conditions that I wrote on a post-it note during the tutorial. Except I scribbled them.



Is that a ‘B’ or a ‘D’? What am I pressing ‘V’ for again? I just want to move! I’d give my cockpit for WASD controls! Then, somehow, the engine’s thrum moves from ‘limping bee’ to ‘orgy of vacuum cleaners’, and beneath me the plane rumbles into action, aching to meet the clouds. Soon, my pretty.

Even though I’m not moving the stick, my Ilyusha is careering down the runway and curving steeply off to the right. This is why I keep away from these things: even not doing something can lead to picking bits of plane spotter out of your hair. It turns out that single-engine planes simply do this during take-off. That seems like a cruel joke to me, and I blame Einstein. The only way out of this twisty physics puzzle is to compensate with the rudder. A twist of the joystick starts to right the plane, before sending it away to the left. I end up drunkenly snaking off down the runway as if I’m dodging invisible traffic cones. I believe this is known as ‘over-compensating’ in flight schools. I over-compensated the hell out of that take-off.

What would Jesus (Antonio Villamor) (4 kills) do? He’d probably yank back on the stick, thinking that being in the air is preferable to being on the ground, where people have left a lot of inconvenient buildings and fences. I yoink. I’m airborne! I’m up! I’m up! I’m UPSIDE DOWN! All of Hans-Joachim Marseille’s (158 kills) life flashes before my eyes and I pile into the ground.

That was fun. Not the crashing bit; the taking off. It was hard, but it felt responsive. Each climb got easier, the subtleties of stick control became less cloudy. I learned to put distance between me and the ground before performing complex manoeuvres, such as daring to turn. But that first successful take-off had got me hooked. I’m already considering getting a better joystick and I’ve downloaded the sequel. Now, I just need to learn how to land the dambusting thi… KABOOM.

Rich McCormick - Elder Scrolls III: Morrowind

What is it? Openworld first-person fantasy RPG set on a weird dark elf island. A blight is mutating the locals, and you’ve got to stop it.
How late? 9 years
Excuse for lateness: I was between PCs when it was released, and the Elder Scrolls’ ultra-traditional fantasy struck me as being a bit too twee.

I’ve been told so many stories of Morrowind’s opening few hours that I catch myself expecting a consistent rain of falling mages and colourful giganto-bugs. I’m a little disappointed to find my first port of call – after waking up on a boat, as a prisoner – is a little muddy fishing village.

I’m invited into a house, where I’m given a pardon and pushed out into the wider world. Wait. There’s no overarching threat here? Morrowind the continent seems to be ticking along nicely, so why thrust me into the middle of it to get all hero-ey?

For a while, I can’t decide if this utter freedom is liberating or terrifying. As I pootle around the foothills surrounding the starting village of Seyda Neen, I get a secret third emotion: boredom. The world is expansive, but imagined by a person who counts ‘beige’ among their favourite colours. My character shuffles at a pace so gentle I develop a fear that he’ll curl up and go to sleep. Morrowind’s journal is horrible, the latest patches of info – however meaningless – taking the place of more pertinent stuff from a few hours ago. I begin writing things down on real paper. This is either the most engrossing RPG of all time, or just terrible design. Hint: it’s the latter. After some successful perusal, it becomes clear the game sort of wouldn’t mind if, maybe, I went to the town of Balmora. There’s a giant flea monster that will take me there if I climb on its back, but it’s a giant flea monster, so I don’t want to climb on its back. Instead, I walk.



It’s a slow and trudgy journey. The draw distance leaves me peering into soupy fog at medium range, and the only things to distract me are small doors set into hillsides. I wander through one and am met by a woman brandishing a dagger. “I’M GOING TO KILL YOU!” she screams. Help, I think she’s trying to kill me. I spin on the spot and slam the door behind me. I open the game’s menu – a series of windows that work with a pleasing simplicity – and arm myself with the best weapon I’ve got: a rusty dagger that I found next to some cheese.

I charge into the cavern and bring the tiny sword crashing down on her head. It passes straight through her. I try again. Another miss. I’m being perforated by a woman with a fervent desire to kill me for intruding on her cave-bound solitude, she’s not moving – and I still can’t hit her.

Quickly, I’m killed. Morrowind’s save system is, I discover, unforgiving. I come to life back in Seyda Neen. This world is crueller and uglier than Oblivion’s, the hard RPG under-skeleton showing through clearly. But it has the same kernel of directed freedom that drew me so deeply into that game, mixed with an implied weirdness that Oblivion lacked. Morrowind’s too clunky and ugly to prefer over Cyrodiil, but having exhausted that world, I want to play more in this one. This time, I resolve to take the giant bug into town. But I’ve learnt now – better start small.

Owen Hill - League of Legends

What is it? Free-to-play topdown competitive action RPG. You’re a powerful champion, fighting other players amid a constant battle.
How late? 2 years
Excuse for lateness: I was initially put off by the art style and learning curve. Over time, I’ve learnt to embrace bright colours and difficult things.

Exciting! League of Legends is patched and installed. Now, I sit in a queue of ‘over 9,000’ players with an estimated wait of 22 minutes.

After staring at the screen for eight minutes, I begin to overanalyse. The menu has the style of a sexed up World of Warcraft, which I don’t find sexy. It doesn’t help that the patch screen has already teased me with a bunch of Riot Points. I don’t know what Riot Points are. No sale LoL. Lol.

Only 2 minutes, 50 seconds to go now and I’m 5,243rd in the queue. Coffee time. When I return, I’m going to kick a tutorial’s ass. Finally, it’s on. Colourful, responsive, fullscreen, native res in a free-to-play game, I didn’t expect this level of polish. There’s a gentle-voiced lady explaining what to do, too.

The devs have attempted to hide anything too confusing, but the greyed out features on the HUD make me suspicious that things are going to get very complex. I speed through the basics of movement and killing, while playing as an archer lady. I can heal, teleport back to my base and launch arrows. Eventually, I wade into battle behind a rabble of AI minions, push into my opponent’s base and wail on a pink stone until it pops. ‘Congrulations! Battle Training is available to guide you through Champion Selection and serve as an introduction to Summoner’s Rift’.



Typo aside, lock and load Legends. I’ve got three champions to choose from this time. I go for Ryze, a snazzy-looking Mage, and select the noobest-sounding spells – Heal and Revive – before levelling them up with a tech tree. I click ‘Lock In’.

Now this is proper. The other players are bots, but look real enough. I spend my starting gold and begin looking for stuff to blow up. How naive. The lady explains that before I kill other Legends or think about stones, I should explore the map for minions to kill to get extra XP. I beat up a few wolves and wraiths before downing a lizard monster. I’ve unlocked five skills, including Sithstyle electro bolts and a Half-Life 2-like balls of plasma. I catch glimpses of my fellow Legends taking a beating in the tug of war battle and decide now’s the time… to shop.

I choose the recommended items – gem stones and new boots. I’ve killed bosses, levelled up, and restocked my inventory before it’s even kicked off. I escort my minions down the central lane, blasting anything in my path. I’m a comparatively high level and I make a terrible mess of the enemy’s base, Alt+Tab out and begin emailing friends the download link – if they get in the queue soon we’ll be ganking noobs by midnight.

Tom Francis - System Shock 1

What is it? Sci-fi first-person shooter and RPG. Rogue AI SHODAN has taken over a space station, and you’re the cyborg hacker trying to stop her.
How late? 17 years
Excuse for lateness: I played the demo a bit at the time, but the cursor-driven interface and awkward combat scared me off.

After a surprisingly decent intro cinematic, my mind is slightly blown by a feature I’d forgotten any game had. I don’t have to choose a difficulty level: I can scale every element of the experience. Combat, Puzzles, Cyberspace and Mission each have four levels of challenge to choose from. I leave them all on normal, which is probably why no one has bothered with this system since.

In-game, I remember why I bounced off Shock 1 when it came out: it’s ugly, complicated and fiddly to interact with. But now that I give it a proper chance, it’s not hard to cut the interface clutter and enable the mouselook. Suddenly, it starts to feel like my kind of game. It’s still weird; the interface has an extraordinary control panel thing that lets you position your body in any one of nine contorted leans and squats. It’s awesome, and I’ll never use it.

The early levels are about bashing mutants with a pipe until they split, then double clicking their corpses to drag drink cans and human skulls to your inventory. I’m fine with this.

48 sweet wrappers and beakers later, I find an actual gun. A dart gun! It has only five shots, so I’ll never use it. Good find. That’s when I meet my first real enemy: a cyborg assassin. I remember these guys from such games as the next one in this series! They’re ninjas! They’re horrible! It’s killing me! I’ve changed my mind, I want to use the dart gun now! I have to bring up a ‘General’ menu to switch to it, and when I do, it still won’t fire. Fire, dammit! I saved those five shots specifically for a situation like this!



I’m dead. There’s a hilarious cutscene in which you’re revived, your eyes roll back into your head, and you’re dangled from a giant pair of robotic legs to serve the evil SHODAN AI – which frankly seems preferable. And that’s when I remember it’s right click to fire.

I’m a long way back when I load my last game, and every direction looks the same. I’m lost in the bewildering corridor spaghetti. That’s when I find a Sparq gun. That’s new. No ammo count? I will always use this. It has a whole control panel to configure its power level and monitor heat levels. I set it to maximum kill.

Suddenly, the game is easy. It’s more about scouring the levels for ammo than combat skill: most guns fire as fast as you can click, which mows anything down in a second. The main challenge is that enemies frequently appear from confusing angles or hidden alcoves, which is weird for a game that makes looking up and down so awkward.

So I end up enjoying it, but it doesn’t have the same magic that Shock 2 did for me. The best bit is the audio logs, which are the same as in the sequel. These garish, twisty corridors don’t feel like a real place the way Shock 2’s decks do, and I don’t have the same sense of exciting possibilities to develop my character. It’s a party I definitely should have showed up to at the time, but this late, after a better one, it’s not essential.

The headline says it all. The Missing Link fills in the gap you probably didn't know existed in Deus Ex: Human Revolution's main storyline. A quiet sleep in a transport pod in the story turns out not to have been a quiet sleep at all, but a terrible nightmare in which Jensen loses his shirt aboard a stormy ship, and must get it back by any means necessary.

In seriousness, The Missing Link is surprisingly good. "It’s rare for DLC to live up to a great game, rarer still for it to fix that game’s biggest flaw," says Tom in our Missing Link review. You guessed it. They actually fixed the boss fights. It's almost as though everything turns out better when the core developers design every aspect of their game.

The Missing Link is available now on Steam for £8.99 / $14.99 / €10.99. Deus Ex: Human Revolution is also on sale at 25% off. Coincidence? I think not. There is surely a conspiracy at work here...

With the Deus Ex: Human Revolution Missing Link DLC out next week the nice chaps of Square-Enix have given us some of Human Revolution to give away. Not just any copies though. No, we've got three Collectors Editions. Each one comes with tons of bonus material, in game items and even an Adam Jensen action figure. He definitely asked for this.

Check inside to see exactly what you can win, and how to enter.

The Deus Ex: Human Revolution Collector's Edition contains:

A poseable Adam Jensen action figure
DVD featuring a 44-minute “making of” special, 30-minute game soundtrack, motion-comic (adapted from DC Comics’ official series), E3 trailer and animated storyboard.
40-page art book.
The Explosive Mission Pack, featuring the 'Tong's Rescue' mission
In game weapons: Automatic Unlocking Device, M-28 Utility Remote-Detonated Explosive Device (UR-DED), Linebacker G-87 multiple shot grenade launcher, Huntsman Silverback Double-Barrel Shotgun, SERSR Longsword Whisperhead silenced sniper rifle.
10,000 extra credits to buy or upgrade weapons.

 
Plus some gorgeous box art:



To enter, answer me this question in the comments below.

If you had the chance, what cybernetic enhancements would you have, and what would you use them for?

The cleverest, funniest, smartest or most moving entries... basically whichever ones I like most, will win the prizes. Once again this competition is for European readers only (sorry rest of the world), if you win you'll be notified in This Week's Winners.

Good luck everyone!

Human Revolution was brilliant at letting you play the way you wanted. Its boss fights were terrible for not doing that. When it emerged that they’d been outsourced to another developer, you had to wonder: what would they have been like if Eidos Montreal had made them?

Here’s one they did. I won’t spoil anything about the plot of the new Missing Link DLC, but I’ll tell you how I took out its boss.

After ten minutes of methodically stalking and knocking out the guards patrolling the area, I hacked a turret. Bulletproof glass separated the room the boss was in from the larger open area I was clearing out, so I couldn’t make the turret shoot him directly. But I could get beneath that room, and when I did, I found an open doorway at the back. Too high to jump to, even with my augmented legs, and no crates nearby to stack. But there was that turret.



Avoiding the gaze of a well-armed heavy on a high balcony, I snuck out to grab the gun emplacement with my strength aug, carried it beneath the boss room, and climbed on top of it. Using X-ray vision to see the boss through the floor, I waited until he turned away from the opening, leapt up through it, and grabbed him from behind in a sleeper hold.

It was tense, tough and brilliant, and this whole enormous mission is tense, tough and brilliant. It inserts itself into the timeline of the original game, between leaving Heng Sha on a mysterious boat and arriving in Singapore. Rather than sleeping soundly in a stasis pod, as the main game implied, you’re discovered and wake up in captivity.

You’ve lost your items and all but the basic augmentations – punching and level one hacking – but you’re soon given a generous windfall of praxis points to buy new ones. Starting from scratch, using what you find, and trying new options in a hostile environment – it’s all an intentional nod to the excellent prison break in the original Deus Ex.



I assumed that was the whole thing – an exciting escape section on a prison ship – but that’s just the intro. The bulk of it takes place after you dock. It’s a huge mission with masses to discover, and Eidos Montreal have given it an almost hub-like structure. A lot of the later encounters take place in areas you’ve already cleared out, repopulated with guards and hastily set up defences – like that turret I used for a boost to take out the boss.

It’s not like the main game’s cities, Detroit and Heng Sha. This isn’t a friendly area, and despite a few sidequests, it doesn’t have that same sense of open exploration. But there is a surprisingly in-depth story, and some tricky decisions to make.

While the backtracking is necessary for the story to make sense, the way it’s handled isn’t ideal. There are no loading screens, but you have to sit through a suspiciously long ‘bioscan’ between each area, during which the game is obviously loading the chunk of level you’re about to enter. When objectives lead you back through two or three areas you’ve already visited, it means a boring walk through covered ground with several painfully long waits along the way.



It’s not a big deal. The levels themselves are magnificently rich with alternate routes, plot detail, and subvertible security systems – including a new turret that fires Typhoon mines. The structure makes it possible to complete later objectives before you’ve been given them, and it’s handled elegantly – you can even steal the boss’s personalised weapon before you fight him. And the whole thing is just massive. It took me five hours to play through, with a quick and brutal stealth combat style, exploring the levels but not scouring them.

The excellent boss fight and a satisfying story conclusion end it on a high note, with a strong hint at more to come. It’s rare for DLC to live up to a great game, rarer still for it to fix that game’s biggest flaw.

The Missing Link is priced at £8.99 / $14.99 / €10.99, and it's out on Steam next Tuesday - October 18th.

Sometimes, even the best games end up with the absolute worst DLC. Fortunately, Jensen's not being saddled with the latest in cybernetically enhanced horse armor. Missing Link's looking like quite the thing, and the boss fight sounds like it'll make all my wildest dreams come true - including the part where I'm always wearing a trench coat for some reason.

Best of all, the wait's nowhere near as excruciating as, say, getting your arms replaced with transforming robot swords. According to Human Revolution's Facebook page, the DLC's launching on October 18 - aka, next week. The price is a bit steep at $14.99/€10.99, but you're getting what essentially amounts to a whole new chapter in the game. Regardless, I'm pretty thrilled. Are you?

Update: Square Enix have sent over word that Missing Link will cost £8.99 in the UK.

 
Eidos Montreal have released the second part of their walkthrough for the Deus Ex Missing Link DLC. Like the first part it's about five minutes long. which means they're only show the first ten minutes of the game. Those who fear spoilers might want to avoid watching, but keep in mind that The Missing Link is going to be five hours long.

The Missing Link will be out this month, for more details, check out our Deus Ex: Human Revolution Missing Link preview.

The Explosive Mission Pack and Tactical Enhancement Pack DLC bundles for Deus Ex: Human Revolution have arrived on Steam, giving us the opportunity to pay for the pre-order bonuses that pre-orderers got for free.

The Explosive Mission pack adds a grenade launcher and a remote detonated explosive device for maximum explosions. The pack also contains the bonus Tong's Rescue mission. That costs £1.99 / $2.99.

The Tactical Enhancement pack tactically enhances Jensen with a great big double barrelled shotgun for maximum tactics. It also includes a silenced sniper rifle and, annoyingly for purists keen to earn their in-game cash, 10,000 extra credits. That's on Steam now for £1.19 / $1.99.

Both sets of DLC are available as a single pack which costs £2.49 / $3.99.

This feels a bit odd. There was a network of confusing pre-order DLC deals in the run up to Human Revolution's release, and weapons like the remote detonated explosive that provides creative new options in combat should really have been in the game in the first place. And that's before we consider the extra mission. It's as though those who paid full price on launch day are being punished for not gambling on a pre-order. Will you be picking up these DLC packs?

 
Square Enix have sent over a new trailer and some screenshots for Deus Ex: Human Revolution - The Missing Link. Tom's played it, and it's rather exciting. You can read his thoughts in our Deus Ex: Human Revolution Missing Link preview. The walkthrough trailer above shows us the tense opening minutes. Shirtless, and therefore powerless, Jensen's forced to use extra caution to get around the cargo ship. It may feel a little familiar to those who have played the ship level in Splinter Cell: Chaos Theory.

In case you missed them on Friday, Square Enix sent over three new screenshots showing the ship's interior, which is slightly surprising, because the improved lighting and storm effects on the deck shown in the trailer look much more spectacular. Even at sea, everything has that smokey, golden sheen.

We've heard GRIP's side of the confused, rather depressing saga that is Human Revolution's not-so-revolutionary inclusion of boss fights, but what about Eidos Montreal? Well, the developer hasn't augmented its ears to tune out all criticism.

Speaking with Rock Paper Shotgun, project lead Jean-François Dugas was refreshingly open about the whole mess. Don't take that to mean he's done with boss fights altogether, though. Rather, Dugas feels that his game's boss fights weren't quite comfortable in their own skin.



“When we started the goal was to have those boss fights with the same design and rules as the rest of the game. We had our pillars of stealth, of non-lethal actions, and everything else, and we wanted to make sure that was reflected in the bosses, but in the end it was not... I think the biggest weakness there wasn’t the concept of having boss fights, it’s just that our boss fights are not Deus Ex boss fights and that’s why people are complaining about them. I guess we live and learn,” he admitted.

“Should we have cut them? It’s a decision we made, we said 'well at least they will be entertaining in some fashion'. The biggest surprise, actually, was having released the game and finding that people thought they were frustrating. Not just that they weren’t that interesting, but that they were frustrating.”

And yet, the encounters – ultimately responsible for many a crushed keyboard and irate, all-caps tweet – stuck around for the long haul. But why? Surely someone noticed that dying 17 times in a row against the first boss wasn't fun, right? Apparently not.

“The playtesters internally gave us a lot of good feedback for the game, and on the bosses they felt that the fights were entertaining and making you use what you had learned,” said Dugas. “They didn’t say they were frustrating. We knew it was not in step with the rest of the game, but the surprise for us was that the playtesting was correct everywhere but the bossfights. So lesson learned.”

Fingers crossed that Eidos Montreal irons out all the kinks next time around. Or at least throws in a boss who loves nothing more than to lean obliviously next to air vents.