Deus Ex: Game of the Year Edition

This kind of industry news happens all the time, and it's not normally the kind of thing we'd report. This is just too good, though. Valve have confirmed that they've hired Doug Church, a games designer who worked on, amongst others, Ultima Underworld, Thief, System Shock and Deus Ex. And Flight Unlimited 2, which was totally amazing by the way.

When Tom spoke to Gabe Newell at great length last year, he discussed Valve's hiring practices. At the time, Newell mention that: "We have one guy who I think we’re finally going to get to move here that we’ve been pursuing for twelve years now, and we finally have convinced him to join the horde." PURE SPECULATION from my brain suggests Doug Church might be the guy.

There's no word on what project Church is working on - and whether it's something new or something existing - but Gamasutra received confirmation about the hire from Valve's Doug Lombardi. The imagination runs wild. Hop below for the full section about hiring practices from Tom's Gabe Newell interviews.

PC Gamer: You guys seem to hire people who have good ideas on the back of the fact that they have good ideas. When you look at a bunch of indie guys, like a DigiPen team, what's the difference between a game that looks cool and has a nice idea in it, and a game that makes you want to hire everyone that works on it?

Gabe Newell: It's talking to the people, right? This is like a four hour side conversation. What it really comes down to is that you talk to the people, and you get a very clear sense, quickly, about what they can contribute, and how they're going to impact the people around them. Everybody here has a huge impact on everybody else, so when we bring in somebody like Bay Raitt (the Weta Digital engineer responsible for Gollum's facial animation in the Lord of the Rings films), or Kuda, it's weird how much impact, even at this point in our history, one person has on all of the people around them.

The decision to do that is all about the people, and not about the game. The game is something that happens to go with them. Hopefully we help them make something sooner and better than they would be able to otherwise, but it's always the people decision first. And we don't have reqs, it's not like somebody says, “Now we're going to hire three texture artists." We hire anybody who walks in the door who fits. We'll make them an offer, and we'll pursue them relentlessly. We have one guy who I think we're finally going to get to move here that we've been pursuing for twelve years now, and we finally have convinced him to join the horde. What do we call ourselves?

Doug Lombardi: Horde is not it!

Gabe Newell: Alliance? (Laughs) Red? Blu? Company?

Doug Lombardi: Studio would work.

PC Gamer: Who is that?

Gabe Newell: I can't say. I can tell you there are people out there that we would love to work with that we aren't working with yet. The guys at Media Molecule. We think those guys are awesome. There are a bunch of guys at RAD Game Tools that we think are awesome. Who else?

Erik Johnson: In the game space? There's a lot. There's people at id, there's people at Epic, there's people at DICE.

Gabe Newell: So yeah, for us it's always about . I see Erik more than I do my wife. (Looks at Erik) You're looking really nervous.

Erik Johnson: My awkward scalar just started going.

Gabe Newell: So, you know, we want people who are going to make us smarter, and make us excited to go on the move. I mean, I get to be the biggest fan boy of all. I get to see everything everybody does and all the different versions of it. I get to see it first, so it's a huge amount of fun to work here. It's exciting. Like I just reviewed 48 different box concepts for Portal 2 - 48! - and so I get to see 48, and customers only get to see 1. Actually, Valve's just a very clever way...

PC Gamer: To become the world's biggest Valve fan?

Erik Johnson: It's still a big event when we hire someone, everyone's still super excited about that. It's just like it was 10 years ago pretty much.

Gabe Newell: It's amazing how much of an impact the right person has when they come on board.
Deus Ex: Game of the Year Edition

Austin Grossman - a designer on the original System Shock, a writer on Deus Ex, and author of the very funny supervillain novel Soon I Will Be Invincible - is writing a novel about a game developer, set in 1998.

He told iO9: "In a way, the template is the first season of Mad Men – what if Don Draper were a game developer? The main character is a mysterious guy and something about his mysterious past makes him good at his job. Don Draper would be an awesome videogame designer, so what if we moved him into 1998 in a videogame company?"

It'll switch between the developer's real life making games and the worlds of the games themselves. "A lot of it will be set in the game worlds." Austin says. "I don't know if I could get myself to write a heroic fantasy novel, so this is the closest I'll get. I'm sneaking my way in the back door by having people playing heroic fantasy in the novel. There will also be a Cold War spy world and a scifi world. They'll move in and out of the game worlds."

Austin was working in the games industry himself around that time. So if he says a man who spends most of his work hours drinking scotch, having affairs and finding new ways to say "What?" would make a great game developer, I'll bow to his superior knowledge.

The other book he's working isn't game-related: "I'm retelling familiar scenes from Nixon's life and filling in the parts we don't know with Lovecraftian horror." A sentence which caused our production editor Tony to tragically explode with excitement.
Deus Ex: Game of the Year Edition

Last month I got to play Deus Ex: Human Revolution, and I've already told you what I thought of the first half hour. The rest - all the juicy stuff about augmentations, social hubs, and the first proper levels was under embargo until now. So here's what I thought of the next two and a half hours.

That's when the third Deus Ex game really starts. Plenty before this point is a little worrying - an on-rails tour of Sarif Industries, some slightly off-putting attitude from Jensen, and the whole assault-rifle-only thing. But that's just an interactive intro. When we rejoin hero Adam Jensen after the credits six months later, it's a very different game.



You arrive back at Sarif Industries, in the lobby, and are free to explore wherever you like. Sarif wants you on the helipad to respond to a situation at one of the company's remote facilities, but you're not forced to oblige him in any kind of time. I wandered around the complex talking to everyone, going into every office and every floor, much the same way I did at UNATCO HQ back in 2000.

I overheard a co-worker talking trash about whether I was ready to be back at work, which let me try out the conversation system. I had the option to confront him, reason with him or change the subject, and before you confirm your choice you get a short preview of the line you'll actually say. As someone who frequently groaned at Commander Shepard completely misunderstanding what I meant when I selected "We have to hurry" in Mass Effect 2, I appreciated that. It's also just really satisfying to be able to properly chew someone out for bad-mouthing you. Jensen's kind of a dick at times, but when you've instructed him to be a dick, it's fun to watch him do it so well.

I eventually found my office, and after bloody-mindedly trying the same password that worked in Deus Ex 1 three times, discovered that my actual login details were on a datapad on my desk. There's lots of e-mail to read, from company-wide memos to messages of support from colleagues, and even a mail from the receptionist about a minor security matter she'd like you to look into. That mail starts a whole side quest about a thief in the company, one you could easily miss.



Naturally, my next stop was the ladies' bathroom. There's a running joke if you keep blundering in there in UNATCO headquarters in the first game, so I had to know if Eidos Montreal would acknowledge it. Two women in the stalls are discussing your return to work in there, oblivious to your presence, and they hint at something you don't know about your injuries and the attack that day. Intriguing, but not funny. Later, though, my experiment in creepiness paid off: tech stereotype Pritchard adds, after briefing you, "Your body's changed, Jensen, but you haven't become a woman. Stay out of the ladies'."

With the important stuff out of the way, I finally found the helipad and set off to save some lives. The mission isn't as simple as a hostage rescue: a group of anti-augmentation purists have raided the facility where Sarif was developing the Typhoon aug, the one Jensen's using when he fires out tiny explosives in every direction in the first in-game trailer. They're presumably looking to steal the prototype, and they've taken scientists hostage along the way.

It says something about Sarif, both the company and the man himself, that your primary objective is the Typhoon prototype - the five scientists with their lives on the line are secondary. It's even possible to get them killed before you so much as start this mission - if you take much longer than I did exploring Sarif HQ, after repeated warnings from Sarif himself, he'll let you know the situation has changed, and the hostages are dead when you arrive.



I laughed when I first saw Zeke Sanders, the first villain you get to face: he actually has an eye patch. But it turns out there's a story even to that. Sarif says the guy can't have been involved in the attack six months ago, since he's not augmented. In fact, he's fighting to end augmentation. But he's not quite right - a SWAT officer on the scene says he heard Zeke was augmented once.

The truth is that Zeke is a veteran, and the US military have a policy of offering free augmentation to any wounded vet who signs up for another tour of duty. Zeke lost his eye in combat, and went back to active duty in exchange for a cybernetic replacement. He got his augmented eye, but became convinced it was driving him to do the horrible things he did in war. He had it removed, hence the patch, and joined the purists.

Before your chopper lands, Sarif tells you that "The rules of engagement are your call: do you want to go lethal or not?" He's not, as I feared, asking you to set the failure conditions of the mission. The next question is whether you'd rather get close or engage at a distance: this is the weapon selection conversation you had with your brother Paul at the start of the first game, but with another level of choice. I picked nonlethal and close up - basically Hard Mode - and got a Stun Gun; a short range tazer with just a few darts. If I'd gone with long range, I would have got a tranquilliser rifle - the equivalent of the first game's mini-crossbow. Close range lethal is the Magnum revolver, and long range lethal is the assault rifle.

I was also given 6 Praxis points, level-up currency you'd never normally have this early in the game. It costs 2 points to get a new aug, 1 point to upgrade an existing one with a new feature. Most tempting: Strength upgrade to lift and throw heavy objects, Awareness aug to highlight hostiles on my minimap, Landing System to negate fall damage, Lungs to sprint longer and survive that toxic gas I discovered earlier, or Legs. The Leg aug is so good I considered putting all my points into it: the upgrades respectively let you jump higher, sprint faster, move silently, sprint silently, then jump and sprint silently.

In the end I went for Strength, Cloak, and Legs with silent movement. The walk softly and carry a big box approach. Immediately, I regretted not getting the Landing System - you start on a rooftop, and it would be beyond badass to leap off it to start the mission. But once I got down the human way - after fumbling with a ladder and falling to my death once - I found the starting area an aug playground.



The guard I landed behind gibbered and collapsed with one stun dart. Around the corner, two more were talking. I used Strength to - yes! - stack a crate near a shack wall nearby and peer over the top to scope them out. If I'd gone for the jumping upgrade for my Legs aug, I could have just hopped it. And if I'd used Brain to not be an idiot, I probably wouldn't have fallen over the wall into plain view of them both.

After a hasty retreat, my infiltration started to go more smoothly once I got the hang of hugging cover. I snuck through the next few areas - big, airy storerooms in the Shipping & Receiving wing of the building - without engaging or even being seen by any of the guards. Deeper in the facility, things got tricky enough that I had to start tazing bros. Having exactly no manual skill with a 360 controller, my preferred method was to hide in cover until they almost passed me, then blind-fire with the stun gun to minimise my exposure. This is wildly inaccurate, making it a terrible idea with a single shot weapon, but if they're close enough it doesn't matter.

Regular guns kill with one headshot, but without a mouse that's entirely beyond my talents. Human Revolution is incredibly stringent with ammo - I rarely had more than 4 rounds in a given weapon - so mowing everyone down wasn't an option either.

Whatever you specialise in, though, you can always hit them with your robot arms if you have enough batteries. A melee takedown, whether you choose to make it lethal or just a knockout, consumes one cell of power. Other augs drain those cells more gradually - each battery has a little progress bar of remaining charge - and if you've got less than one full cell, you can't use melee attacks at all. The good news is that your last cell always regenerates over time, so if you've run out of absolutely everything else - and I frequently had - you can still stalk a room full of enemies with a slow rhythm of sneaking and punching.

That battery system certainly stops you from becoming a reckless superhero. Cloak was almost useless to me, since one cell of energy only fuels it for a second, leaving you unable to punch. I can't speak for the way you'll play, but when my Cloak ran out in front of an armed guard, I was usually in the mood to punch a guy. That problem was mainly a result of this demo: you're not supposed to have augs at all by this point, so there aren't nearly enough, er, energy bars to recharge your energy beyond that one cell. I don't mean bars of energy, I mean high-calorie snack foods - that's what you eat to regenerate bioelectric energy.



Once I got the hang of punching, I tended to overuse it. I finally found the hostages, still alive in a room with a toxic gas canister ready to release. Its trigger was tied to the door I just came in through, so I had seconds to save them. I couldn't see a prompt to defuse the bomb, so I went to the hostages hoping to carry them out. All I got was the usual melee prompt - tap the button to knock them out, hold it to kill them. Well, I didn't want to kill them. Tap it is!

You're, er, not meant to punch the hostages. You certainly can, and you can even drag their limp bodies away. In fact, since I had Strength, I could have easily tossed this unconscious middle-aged lady out of the room with some force. The trouble was, the bomb trigger also locked the door. By the time the gas started to leak out, all I could do was sneak out the vent I should have come in through, while the surviving hostages screamed at me to stay away from them before choking to death. Probably not going to get Secret Agent of the Year for that one,

The mission ends - some tough encounters later - in a confrontation with Zeke. He has a hostage, and you have a choice: talk him down, let him leave, or attack. Talking triggers the game's interesting conversational combat system: each tack you try gets a particular response from Zeke, and each of those has a right response, a wrong response, and one that will neither drive him over the edge nor calm him down. The exact lines Zeke throws at you are somewhat randomised, so you can't just memorise the correct responses to each, you have to think about what he's said and figure out the right counter-argument for his frame of mind.

I just punched him. A friend, playing for Edge magazine, punched the hostage instead - an innovative solution he didn't quite intend, but which nevertheless saved her life.

Human Revolution is a much tougher, harsher game than I imagined - even with augs you wouldn't normally have. It's visibly more futuristic than the first, the melee and cover are very different, and that first half hour is misleadingly straightforward. But none of these things stop the meat of the game from capturing the Deus Ex feel: thinking "OK, how do I want to play this?", stumbling across interesting alternate routes, and panicking when it all goes wrong.

Without that hard edge of difficulty, Human Revolution would miss the point. With it, it's a very exciting game.



Other thoughts



At one point I had to get past an automated turret. Rather than hack it or sneak through a vent, I pushed a heavy crate ahead of me with Strength, then when I was behind it, simply picked the whole turret up and put it in a corner, facing the wall uselessly. Strength is ace.

A pure sneaking approach is definitely possible, but I found ambushing more fun. Guard patrols are random and you sometimes have to wait a long time for a group of enemies to all be facing the right way for you to get past. I had better results waiting for all but one to look away, then just punching or tazing the guy before he can make a sound.

Guards revive friends they find unconscious, then search the area together. This leads to some fun games of cat and mouse.

You're still chief of security for Sarif, yet the security console in your office only has access to the cameras in the building, not the turrets or bots. Your lack of trust in me is probably wise, Sarif.

An AI problem: at one point I ran out of ammo completely and was stuck facing two guards down a long corridor. Whether it was a glitch in this early code or not, they wouldn't budge either when attacking or when I slipped out of sight. This early in the game, I had no other options - you can't survive that kind of fire and none of my augs were useful with only one pip of energy. Had to load an earlier save.

In an office under renovations, I came across a can of spraypaint with the Look of Disapproval on it: ಠ_ಠ It's an emoticon best known on social news site reddit, which has a strong gaming community - presumably an artist on the team is a fan. The paint colour: red, of course.
Deus Ex: Game of the Year Edition

A new trailer for Deus Ex: Human Revolution has just been released. It features talk of DNA, lethal-looking augmentations, and all the gold tint that you've come to expect from Square Enix's upcoming FPS.





Tom recently got to play Deus Ex: Human Revolution for the first time. Read his initial impressions here.
Deus Ex: Game of the Year Edition

I'm at a gloomy club in London which emits a speech bubble saying "Stay away!" if you hover over it on Google Maps. I'm ignoring this customer review, because that guy probably wasn't here when the place was full of machines running Deus Ex: Human Revolution, when the music was probably less exciting than the ominous synth purr of the game's ambient cyberpunk soundtrack, and before giant images of Sarif Industries' prosthetic eyes were projected onto every wall.

In case there was any way I could be more excited, the difficulty selection screen goes out of its way to make me grin:

Casual

Normal

Deus Ex



I'd usually go for Normal mode if I'm going to be writing about something - it makes any difficulty complaints fair. And because the PC version isn't ready for us to play, I'm on an Xbox 360 rather than a mouse and keyboard. That means my manual dexterity will be slightly lower than that of my only surviving grandparent. But if you call one of your difficulty modes Deus Ex, of course I have to pick that one.

Deus Ex was an action RPG that looked like a shooter. Its genius was giving you a large number of tools to manipulate your environment, then making sure the most obvious one - using guns to shoot people - was often prohibitively difficult. It didn't just let you get creative, it forced you to be. The big question is whether its prequel Human Revolution will too, and the only way to know is by playing it.

I wasn't expecting the game to be so balls-out about its hardcore roots - "Would you like to play on Normal, sir, or would you like to actually play the game?" But by the end of the three hours I spent playing it, I realised that's a common theme. Plenty is different to the original Deus Ex, plenty is more accessible, and plenty is more cinematic. But it's still a game that slaps you in the face for trying to play it like Quake.

The intro is a very conscious nod to Deus Ex's: several mysterious conspirators ask each other uselessly vague questions like "Is everything in place?" All that's clear from the conversation is that they're about to do something to prevent cybernetics corp Sarif Industries from revealing a scientific discovery they've made relating to human augmentation.

Cut to you, head of security at Sarif, currently protecting the scientist who made that discovery. Who also happens to be your ex girlfriend.



The very first interactive scene of Human Revolution captures both the cleverness and the absurdity of the original: there's a whole second layer to the plot to be discovered by snooping around your ex Megan's office - reading her private data pads, logging onto her computer and going through e-mails about everything from corporate secrets to who's going to look after her dog while she's away. All while she stands by the door waiting to present the most important scientific discover of a generation to the Washington.

Naturally, I read every word. If you don't jump on someone's desk and read their private e-mails while they watch, you're not really playing in Deus Ex mode.

Even in that one room, the second layer of story you can discover gives a new twist to the premise of the game - skip this paragraph if you'd rather find out for yourself when the game comes out later this year.

Meg's discovery was made during tests on a Patient X, someone whose identity Meg is terrified of ever revealing to the outside world. X appears to be a human whose physiology suggests he's a few steps further down the evolutionary chain than the rest of us, and studying him led Meg and her team to a way to get the human body to accept artificial augmentation more readily. Augs are already rife in the world of Human Revolution, but those with the money and time to undergo the drastic surgery eventually find their bodies reject the implants. Expensive anti-rejection drugs are required for the rest of their lives - any way to bypass that consequence would be the last step in making augmentation mainstream. That's the human revolution of the title.

Obviously you're attacked - it wouldn't be much of a set up to the game if you weren't. But while there are strong anti-augmentation movements in the story, the leaders of the assault are augmented themselves. Something else is going on here.

The attackers are systematically slaughtering all of Sarif's scientists, and you're sent down - with the elevator code 0451, familiar to any Deus Ex or System Shock fan - to stop them. While you do play this section, it's best seen as backstory: you pull out an assault rifle whether you like it or not, and since you're not yet augmented, that's essentially your only combat option in the few sequences ahead.



The rest of the game takes place six months later, and from what I've seen it doesn't force you to use one approach like this again. In general, Human Revolution's levels are open, multi-path, and can be completed by avoiding enemies entirely. There's even an achievement for getting through a level without being seen: Ghost. And your equipment and augs are completely up to you: you don't get so much as a pistol unless you specifically ask for it or take one from an enemy.

Whether you play stealthily, aggressively or both, combat in Human Revolution is all about cover. If you're trying to avoid being spotted, you stick to cover as much as possible. If you've been spotted and you're trying to avoid being shot to death, you stick to cover as much as possible. The two play styles require a different pattern of thought, but they're driven by the same neat system.

Pressing the cover button makes you hug the nearest wall or barrier, and switches to third person to let you see what you're hiding from. The switch of perspective isn't jarring in itself: when you know what wall you're gluing yourself to, it feels natural and useful to be able to see exactly where you are and beyond. But the sections I played were intricate and full of little corners, and on several occasions I stuck to a bit of cover I didn't plan to. When your perspective changes to show you in a place you didn't think you were going, that is confusing. Whether it'll still be a problem when playing with the speed and precision of a mouse I don't know. I can say the same system works perfectly in Rainbow Six Vegas, but that may be because Vegas's levels are simpler geometrically.

The good news is that you're never stuck in cover longer than you want to be: you have to hold the button to stay hidden, so the moment you release it you're back in the action. Edging out and moving to new cover is handled beautifully too - move to the edge and keep pressing the direction you want to lean out, and you don't have to worry about accidentally rounding the corner into fire. If you do want to do that, you hold the jump button to slide smoothly around. If there's another piece of cover in action-movie-commando-roll range, tapping jump makes you dive to it and come up in a perfect crouch behind it. And not just at preset points - even if the cover is an object you moved there yourself, Jensen executes the just the right move to reach it exactly.

In fights, that looks cool. When you're sneaking, it's cooler still. Doing a forward roll from one desk to the next in the split second a guard looks away is thrilling. There's a little tolerance to their detection: if someone does turn suddenly and catches a glimpse of you, they don't open fire or call other guards, they just wander over to investigate in their own time. You can usually creep quietly away and be on the other side of the room by the time they get there.



That's appreciated. On Deus Ex difficulty, you die almost instantly under fire. If a bullet only scrapes you, it takes around thirty seconds to recover from the hit. Even on Normal, which I eventually resorted to at one difficulty spike towards the end of my time, health doesn't regenerate for a significant time after you're shot. It feels much more serious than a Call of Duty gunshot wound, despite the fact that no-one throws jelly in your eyes to obscure your vision.

Almost everywhere you fight is a multi-layered space: there's always some vertical variation, whether it's stairs or a sheer drop. The open spaces are littered with things to hide behind: tables, cabinets, and our eternal friend the crate. It makes the strategy of how you deal with the enemies in these areas more interesting than in, say, Mass Effect 2 - another cover-based action RPG.

Your enemies roam that space with admirable moxy. Unless you're going for an unusually shooty approach, you spend most of your time crouched behind stuff watching them patrol, and they do it in a rather interesting way. There don't seem to be set routes to learn, they explore of their own accord and often vary their behaviour - particularly once they're alerted.

My first fight was also my first death - I crouched behind a house plant while two attackers crept down some steps, waited until I was level with one and attempted to knock him out with a non-lethal takedown. The button did nothing, and the two gunned me down in a second. Turns out you can't actually do melee takedowns until you get your robot arms at the end of this intro sequence. So next time, I crouched behind that same plant and waited for the guard to come close enough to catch a faceful of blind fire from my assault rifle. But this time, both guards turned right at the bottom of the stairs and searched the room in a different pattern. Luckily, that new pattern took them both past a conspicuously green canister, so I shot that instead and scampered up the stairs while they both choked on toxic gas.



If they do catch sight of you, the way guards behave depends on what they know. If they're not sure where you are, they search the area cautiously and tell their friends to stay alert. If they've seen you clearly or heard you fire, they all move to cover and shoot to suppress you. Once when I tried to take potshots from a high vantage point, two of them split off without my noticing, circled around me, found a door to my hiding spot and came in from behind.

That stuff is the payoff for an AI system that's clearly dynamic and adventurous in the way it navigates the levels. The cost, right now, is that they sometimes behave stupidly under pressure. Enemies sometimes bunched up at doorways without going through. Another time, on Normal, a guard failed to kill me as I fumbled ineptly with the controller trying to melee, gave up, then went through a door. As soon as it shut behind me, the guard blurted "Where did he go?" The cupboard, dude, you just watched me shut myself in a cupboard.

It's too soon to call, but I wouldn't be surprised if these behavioural anomalies were still around in the finished game. On balance, I don't have a problem with it. I'd rather have experimental AI that can surprise me in good ways and bad than AI that doesn't surprise at all. The first Deus Ex's guards were hardly convincing, the important thing was that their inadequacies left openings for creative tactics and tense moments. Human Revolution's may well do the same.

At the end of the opening half hour, the credits roll over a montage of Jensen getting his augmentations - a sequence extremely similar to the opening of Mass Effect 2, but exciting nonetheless. I played for another two and a half hours, but all that stuff is embargoed until the 24th of February. We'll have another hands on to spill all the juicy details then.

What I can tell you is that I left slightly shellshocked by how punishing it feels, heartened by how like the original it is, and more excited than ever to play it on PC, where it clearly belongs.

Other thoughts:

Played on a large 1080p television a few feet away, the lovely art style is marred slightly by some jaggedness. Presumably we'll be able to fix that by cranking up the anti-aliasing on PC.

The assault rifle feels fine - certainly better than the first game's. But if this were a straight cover shooter, the feel of the combat alone wouldn't be enough to interest me.

The levels are littered with datapads (useful information), pocket secretaries (vital information like keypad codes), and e-zines (nicely designed news journals with lots of info on current affairs and local colour). There's masses to read in this game.

You type in codes and security logins manually - kind of tedious on a console, but perfect for that hacker feel on PC.

It's one of those games where you can use almost everything - turn on taps, flush urinals, pick up plants and throw them at people. NPCs don't react to stuff hitting them in the head, unless of course it's big enough to maim them.

Some of the hard parts, and the process of experimenting with the game, were made more frustrating by a savegame corruption problem with this early code. After losing my progress about 12 times, I finished the demo a little less giddy than I would have been from the game alone. That's pretty normal from early code, it doesn't suggest any problems with the final game.
We've also just received a new trailer - check it out.

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