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Detroit: Become Human |OT| These Violent Delights Have Violent Ends

DeadmanPhoenix

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Apr 15, 2018
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I am very annoyed about the lack of agency for Connor's chapters. It doesn't really help that I love the gameplay of them the most and still I am yet to be satisfied by the ending of any single one of them. I have no idea what at they are getting at with software instability, because I have no idea what constitutes for loss of it or for gain. It seems that somehow if I lose "software instability" - I actually can see "Deviant" in top right corner of the screen better during checks, but it doesn't make any sense, does it?
 
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Dunki

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Oct 24, 2017
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I am very annoyed about the lack of agency for Connor's chapters. It doesn't really help that I love the gameplay of them the most and still I am yet to be satisfied by the ending of any single one of them. I have no idea what at they are getting at with software instability, because I have no idea what constitutes for loss of it or for gain. It seems that somehow if I lose "software instability" - I actually can see "Deviant" in top right corner of the screen better during checks, but it doesn't make any sense, does it?
It all makes sense in the end. Connor has probably the most agency it is basically Blade Runner. But his agency also depends on how you playy with him. The constant switching makes it a bit more complicated for example the crossing of the street very early in the game durng the chase was really intense but I was also conflicted to fuck some of his quicktime events up for the sake of Kara. And there are several of these especially in the endgame
 

DeadmanPhoenix

Neo Member
Apr 15, 2018
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It all makes sense in the end. Connor has probably the most agency it is basically Blade Runner. But his agency also depends on how you playy with him. The constant switching makes it a bit more complicated for example the crossing of the street very early in the game durng the chase was really intense but I was also conflicted to fuck some of his quicktime events up for the sake of Kara. And there are several of these especially in the endgame
Well, it seemed to me very random that
In the beginning there was a point of no return even though I had a gun and wanted to shoot the Droid myself instead of sacrificing myself or waiting for a sniper. Then there was a Droid in the attic that you get no option but to turn in. Then somehow the whorebot always kills herself with your gun if you shoot her friend. Then there is this media company break in investigation and somehow I am not able to come and investigate the roof after I "lock" myself into the operator accomplice investigation.

What's your take on that? Will all of that make sense?
 

Dunki

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Oct 24, 2017
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Well, it seemed to me very random that
In the beginning there was a point of no return even though I had a gun and wanted to shoot the Droid myself instead of sacrificing myself or waiting for a sniper. Then there was a Droid in the attic that you get no option but to turn in. Then somehow the whorebot always kills herself with your gun if you shoot her friend. Then there is this media company break in investigation and somehow I am not able to come and investigate the roof after I "lock" myself into the operator accomplice investigation.

What's your take on that? Will all of that make sense?
It makes sense yes but it also depends if you discover the reason for it or not. Detroit is a game that has no real plotholes everything is explained somewhere in the world. But on your first playthrough you might not find out the reason. Also Connor route has something very unique unlike the other characters you can already find out very early in the game. I for example found out about it right after the first scene.
 

nowhat

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Sep 18, 2017
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Detroit is a game that has no real plotholes everything is explained somewhere in the world.
Them's fighting words. But we really should get a spoiler thread going on (not going to start one, am lazy) - if that exists, I have at least two major ones.
 

TimFL

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Nov 3, 2013
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Well, it seemed to me very random that
In the beginning there was a point of no return even though I had a gun and wanted to shoot the Droid myself instead of sacrificing myself or waiting for a sniper. Then there was a Droid in the attic that you get no option but to turn in. Then somehow the whorebot always kills herself with your gun if you shoot her friend. Then there is this media company break in investigation and somehow I am not able to come and investigate the roof after I "lock" myself into the operator accomplice investigation.

What's your take on that? Will all of that make sense?
It all makes sense in the end. The software instability is pretty straight forward imho, could be seen as spoilers so I‘ll tag it:
When you pick actions like showing remorse or mercy (anything that that goes against your mission & could be seen as deviant actions) your stability decreases. Focusing on the mission and doing whatever it takes to get there increases stability.

Depending on your stability stat you may or may not unlock certain paths or lock yoursef out from certain paths.
In the begin you are very stable and thus rat out the droid in the attic automatically, the longer you play and the more deviant you act the more „deviant“ paths open up.
 
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Wonkytonk

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Jun 15, 2017
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It arrived at home on Friday but we’ve been on away for the bank holiday weekend— looking forward to spending a few hours with it on Tuesday.
 

DeadmanPhoenix

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Apr 15, 2018
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Thanks for the explanaition. What I am more referring to is that the less instability I have, the better I can read "DEVIANT" in the top right corner of my screen during Connor's check-ups. At this point I am thinking that it might actually mean his leading motivation, which with low instability means catching deviants.
 

Dunki

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Thanks for the explanaition. What I am more referring to is that the less instability I have, the better I can read "DEVIANT" in the top right corner of my screen during Connor's check-ups. At this point I am thinking that it might actually mean his leading motivation, which with low instability means catching deviants.
It is his current status and the possibility of him becoming one. Again it makes sense in the end
 

AgentP

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I can't believe I lost one of my three android doing what looked like the best choice. Now my game is screwed :(
 

LukeSkywater

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I can't believe I lost one of my three android doing what looked like the best choice. Now my game is screwed :(
Finished the game todsy and I lost one of the three as well. Feels bad man. I absolutely loved the game though.
 

Dunki

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Oct 24, 2017
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I can't believe I lost one of my three android doing what looked like the best choice. Now my game is screwed :(
Let me guess it was Kara This seems to be the hardest route. I got lucky and got possibly the best ending for her^^

Alle 3 made it safe to Canada by bus. I also did not sacrafice anyone but luckily the guard looked at the screen and saw the friendly protest of Marcus and decided to let us all in. It was great^^
 
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SonicSleuth

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Oct 26, 2017
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I finished and Platinum'd the game this weekend.... playing a whole helluva lot. I thought I was getting pretty much most of the game in my first playthrough, and I kept all the majors alive, losing only Luthor. In fact, I didn't think I could have saved him... I was wrong.

Then, I started replaying, and realized there were hours and hours of gameplay and choices I didn't even get. Things I didn't even realize were options. Played through again from the start to get the "I'll Be Back" trophy and I couldn't fathom all the ways you could doom these characters if you made the wrong call.

The critics I listen to (Kotaku Splitscreen and one other come to mind) are completely idiotically wrong about this game. They complain about this game presenting the same stuff you've seen on Westworld and other shows/games... the problem is, Westworld is freaking terrible and getting worse. And it's boring. And it's not a f'ing video game. And in the end... who cares? That's like complaining about how CoD must suck because BF already presents the same war situations, or any one of the million open world games must suck because many of them are just another version of car-stealing corruption sim.

I've played all the Cage games, and this is by FAR the most complete experience and best presented story. The graphics, music, effects, tech are all highest order. The acting is fantastic (unlike the laughable voice acting in Heavy Rain). And there are many moments as emotionally wrenching as the few moments in his earlier games that really nailed the emotion of the characters. I LOVED this game. I think passing up an amazing story and game like this because you just happen to have HBO is the dumbest thing I've ever heard. Bravo to Sony and Cage for keeping the (Quantic)dream alive and making a splendid branching narrative game about a very interesting topic, without dragging the characters through some of the most uncomfortable tropes Westworld has stuck us with.

If you're on the fence, Redbox it. You can easily beat this game in the 3-day $7 rental period. For the technological achievement alone, it's worth playing.
 

SonicSleuth

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Oct 26, 2017
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Let me guess it was Kara This seems to be the hardest route. I got lucky and got possibly the best ending for her^^
Yeah, you nailed it. I got the big guy merc'd earlier but did the same otherwise. There are definitely a couple REALLY dark options for Kara, including losing her less than halfway through the game on the run, and seeing NONE of the rest of her story unfold.

One thing that DOES suck about this game is that the magazines are generated based on the choices that you make (wait, that sounds cool, right?), which screws you if you want to 100% the game. If you do everything right with Kara, for instance (meaning, you never get seen by cops, etc.) you will never get magazines generated which pop up in later chapters, so you won't be able to collect them for the trophy... so you have to go back and replay and screw up in specific situations so they can appear later. And with no skipping of video sequences, that means literally hours more gameplay just to get one or two collectibles. :\ AND the inability to create two separate saves (for replaying chapters) adds time, too. So, trophy gettin' is a hassle, but it is worth it to see all the scenarios you never got to see play out.

I got the absolute best ending for Markus and his crew, and my buddy had absolutely no idea that was an option. He chose to do something much more... final.
 

Darak

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Jun 18, 2013
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I just finished my playthrough. It's an improvement over past Cage games due to better writing, technology and characters, but it's still more or less the same.

Despite doing everything right IMO, not losing any QTEs, etc, I lost a major character and got a really terrible ending. After beating the game I found such a bad ending was unavoidable in my route, and the only way to get a better ending was doing some completely out of character bullshit some time before the ending. That kind of tragedy would have worked fine in a movie, but not here, since the game pretends what you see is the consequence of your choices, good endings exist, and for the most part being a good person and choosing 'the right thing' while not failing any QTE leads to good results.

I'm not a fan this narrative mechanic. My problem is that the bad endings are just bad stories which are not only unfulfilling, they also make little sense ('the hero found a terrible injustice, so he decided to do something about it; after triumphing over a number of obstacles, he slipped on a wet floor, broke his neck, and the villain went out laughing to the sunset; the end'). You'd think replaying the game without the mistakes to 'fix' the story would work, but at least in my case, it doesn't. I already invested in the story the first time, and watching the same thing with some bits changed feels weird, like some kind of fan fiction version of the thing. I'd say the version of the story staying with you is the first one you experience.

I don't know. If those kind of endings were reserved to failing QTEs and such I'd find them fine. Or perhaps the game could throw at your some horrible consequences for being a good person as part of some kind of 'reality is cruel' message, but I don't think that is what the author intended. I remember Until Dawn would also unavoidably kill characters depending on some random and inconsequential choices, but it worked better there. That game is based on teenage terror movies, so you'd naturally expect people to die left and right, even main characters, and even if it is just for shock value. In Detroit, the same thing just left me wondering what the hell I just watched.
 

Autoignition

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I played about five hours or so tonight? And... I need to talk to someone.

To preface this: I don't like David Cage games. In fact, I fucking hate them. I bought this game as a joke to stream for my friends so that we can all drink and laugh at it and make fun of it.

For a while, that's what happened. And then...

What I'm finding is that I'm genuinely enjoying and invested in Connor's sections. David Cage is preying on the adoration I have for the kind of dynamic that exists between Hank and Connor, and it's to the point where I literally do not believe that these sections were written by him. They're snappy and engaging -- well-written and well-acted.

I feel like if Markus's sections were taken out completely, I would honestly start to see this as a legitimately great game. All of the sincerely offensive bullshit (and I was seriously offended by that Holocaust pit, David Cage what the fuck) seems to be isolated in his campaign, and the game is worse off for it. I don't particularly care about Kara if only because I have zero maternal instincts and there's zero believability regarding the relationship she has with Alice (seriously, why are these two so attached to one another? Kara doesn't remember her beyond the past two days because of her reset, and because we don't have those sections of the story, I don't know why Alice sees her as a mother figure or what the actual relationship between them is meant to be), but I don't feel like that campaign actively harms the story or breaks my immersion with fits of rage the way that Markus's does.

So... this is the bad place. I've never fallen for Cage's tricks before, but he's got me hook, line, and sinker.

Someone please put my mind at ease and tell me that the game doesn't stick the landing. Because I don't like this feeling of enjoying a David Cage product that does honestly offend me at some points.
 

nowhat

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Sep 18, 2017
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I don't particularly care about Kara if only because I have zero maternal instincts and there's zero believability regarding the relationship she has with Alice (seriously, why are these two so attached to one another? Kara doesn't remember her beyond the past two days because of her reset, and because we don't have those sections of the story, I don't know why Alice sees her as a mother figure or what the actual relationship between them is meant to be), but I don't feel like that campaign actively harms the story or breaks my immersion with fits of rage the way that Markus's does.
I'm so waiting for the inevitable spoiler thread, I've so much to rant about the Kara/Alice relationship... but basically, Detroit is two stories: that of Connor/Markus, and that of Kara/Alice. The latter really exists in it's own space - there are brief interactions with both Connor and Markus, but they are completely inconsequential and if Kara dies, she can safely be just ignored in the "main" story.
 

Autoignition

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Apr 13, 2016
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I'm so waiting for the inevitable spoiler thread, I've so much to rant about the Kara/Alice relationship... but basically, Detroit is two stories: that of Connor/Markus, and that of Kara/Alice. The latter really exists in it's own space - there are brief interactions with both Connor and Markus, but they are completely inconsequential and if Kara dies, she can safely be just ignored in the "main" story.
I had a feeling this was the case. She really does feel so far removed from everything that's going on, but I feel like if she and Markus could've somehow been folded into one character, it would've made for a better, tighter narrative.

Of course, like I said, I haven't finished the game yet. But those are my thoughts for right now.
 

Dunki

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Oct 24, 2017
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I just finished my playthrough. It's an improvement over past Cage games due to better writing, technology and characters, but it's still more or less the same.

Despite doing everything right IMO, not losing any QTEs, etc, I lost a major character and got a really terrible ending. After beating the game I found such a bad ending was unavoidable in my route, and the only way to get a better ending was doing some completely out of character bullshit some time before the ending. That kind of tragedy would have worked fine in a movie, but not here, since the game pretends what you see is the consequence of your choices, good endings exist, and for the most part being a good person and choosing 'the right thing' while not failing any QTE leads to good results.

I'm not a fan this narrative mechanic. My problem is that the bad endings are just bad stories which are not only unfulfilling, they also make little sense ('the hero found a terrible injustice, so he decided to do something about it; after triumphing over a number of obstacles, he slipped on a wet floor, broke his neck, and the villain went out laughing to the sunset; the end'). You'd think replaying the game without the mistakes to 'fix' the story would work, but at least in my case, it doesn't. I already invested in the story the first time, and watching the same thing with some bits changed feels weird, like some kind of fan fiction version of the thing. I'd say the version of the story staying with you is the first one you experience.

I don't know. If those kind of endings were reserved to failing QTEs and such I'd find them fine. Or perhaps the game could throw at your some horrible consequences for being a good person as part of some kind of 'reality is cruel' message, but I don't think that is what the author intended. I remember Until Dawn would also unavoidably kill characters depending on some random and inconsequential choices, but it worked better there. That game is based on teenage terror movies, so you'd naturally expect people to die left and right, even main characters, and even if it is just for shock value. In Detroit, the same thing just left me wondering what the hell I just watched.
I would really love to hear your path since when I played it i messed several QTEs but these were never really important but the decisions I made. I never ever felt that it was unfair and you alwas had space left for mistakes. But I guess that just me.

As for Kara's route I think it is important to the story since this is the route you really interact with humans and depending on the decisions you did with Markus and how the public opinion changes you have different encounters and outcomes. And Markus basically decides Kara's fate as well. To me she is a symbol of all other Androids not directly involved in the conflict in Detroit.
 

Darak

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Jun 18, 2013
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I would really love to hear your path since when I played it i messed several QTEs but these were never really important but the decisions I made.
Sure (late game spoilers follow).

At some point late in the game, I had to catch a bus with Kara. The only way I had to catch that bus was sending a human family (including a newborn baby) to their deaths, which considering the way I played, was completely out of character. Catching that bus moves the story to a great scene where your actions in the rest of the game have a great reflection on the outcome, something which I was really looking forward for Kara's route. It is definitively a highlight of the game and I'm sad to have missed it during my first playthrough. Unfortunately, if you chose the other option the game presents you a scene where literally all the main characters slip on a wet floor and you get a prompt asking you to choose which one of them must die (granted, the game tells you beforehand about the floor being wet, but still, a bad outcome is unavoidable).

In my experience with QD's games, missing QTEs can give you terrible endings, but most of the time nothing serious will happen. Life or death QTEs are mixed with inconsequential ones, and most of the time you can't see the difference between them. I guess this way they can keep up the tension without having to expend unreasonable developer resources in the massive branching which would result if each character could die anytime. I have mixed feelings about this. To be honest, I'd prefer just to get a game over screen and retry the scenes rather than watching hours of a big story going nowhere.
 
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Dunki

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Sure, here are some late-game spoilers.

At some point late in the game, I had to catch a bus with Kara. The only way I had to catch that bus was sending a human family (including a newborn baby) to their deaths, which considering the way I played, was completely out of character. Catching that bus moves the story to a great scene where your actions in the rest of the game have a great reflection on the outcome, something which I was really looking forward for Kara's route. It is definitively a highlight of the game and I'm sad to have missed it during my first playthrough. Unfortunately, if you chose the other option the game presents you a scene where literally all the main characters slip on a wet floor and you get a prompt asking you to choose which one of them must die (granted, the game tells you beforehand about the floor being wet, but still, a bad outcome is unavoidable).

In my experience with QD's games, messing QTEs can give you terrible endings, but most of the time nothing serious will happen. Life or death QTEs are mixed with inconsequential ones, and most of the time you can't see the difference between them. I guess this way they can keep up the tension without having to expend unreasonable developer resources in the massive branching which would result if each character could die anytime. I have mixed feelings about this. To be honest, I'd prefer just to get a game over screen and retry the scenes rather than watching hours of a big story going nowhere.
While I think it is impossible to get on the bus without tickets. Also these people will not die they are humans and rich so dont worry. You do not have to sacrafice anyone at the control. It all depends what you did with Markus. If it was a peaceful protest and the public opnion is positive he will scan you. Look at the TV screen and then let you through. I did not sacrifice anyone.
 
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Darak

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Jun 18, 2013
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While I think it is impossible to get on the bus without tickets. Also these people will not die they are humans and rich so dont worry. You do not have to sacrafice anyone at the control. It all depends what you did with Markus. If it was a peaceful protest and the public opnion is positive he will scan you. Look at the TV screen and then let you through. I did not sacrafice anyone.
My protest was peaceful and I also watched the TV. Still, keeping the tickets was out of character. Judging by the dialogue you have with them after you give the tickets back, they have nowhere to go, it is freezing, and there is a curfew. At the very least the baby is in serious danger, and in fact they spell it clearly ('you saved our life'). Kara herself also expresses regret when they take the bus.
 

Ariesfirebomb

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Nov 30, 2016
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I stole the tickets from the family as well. They are Humans so its not like they wouldn't find a way to survive tbh. One thing I didn't understand was even with Markus doing a peaceful protest and the President reversing their stance, why couldn't we get an option for Kara and crew to stay in Detroit?

Overall I enjoyed the game and got the best overall ending for everyone. There are some things I didn't quite understand and thats maybe because of my actions leading up to the ending
Who the FUCK is RA9? I feel like my whole playthrough built up to finding out who this was and I got nada
 

Sanojio

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Apr 18, 2016
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I stole the tickets from the family as well. They are Humans so its not like they wouldn't find a way to survive tbh. One thing I didn't understand was even with Markus doing a peaceful protest and the President reversing their stance, why couldn't we get an option for Kara and crew to stay in Detroit?

Overall I enjoyed the game and got the best overall ending for everyone. There are some things I didn't quite understand and thats maybe because of my actions leading up to the ending
Who the FUCK is RA9? I feel like my whole playthrough built up to finding out who this was and I got nada
Even Kamski
dosent know who or what ra9 is. But it is a android code for a leader or God. He thinks it was the first deviant. That was either Kara or the first one 9 months ago in Connors files. There is serious discussion even now about it. But it’s a leader that gives hope to android deviants to get out of their hopeless situation. Depending on the investigation with Connor, you find out some androids are inexplicably drawn and write it name out forcefully. And if you find out enough of the truth, you find out Markus and Connor are the most advanced androids ever produced, unique one offs. They do things Kara couldn’t dream of. There is a reason why them and only them can spread deviancy. There was a conspiracy involving certain people at cyberlife. And depending on your choices, either Connor, Markus or North fills in the rA9 role.
 
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Darak

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Jun 18, 2013
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I stole the tickets from the family as well. They are Humans so its not like they wouldn't find a way to survive tbh. One thing I didn't understand was even with Markus doing a peaceful protest and the President reversing their stance, why couldn't we get an option for Kara and crew to stay in Detroit?
Well, that makes sense, but the whole issue is poorly presented, making you feel like they are in real danger and keeping the tickets is a shitty act. In fact, the game makes you feel good about returning them (only to force an unavoidable bad ending upon you some time later, thank you devs). I wouldn't have an issue with this thing, to be honest, if it weren't for the fact that the rest of the game doesn't do that kind of thing: in every other instance, doing the right thing would put you on risk, but you'd still have the ability to overcome the dangers and save yourself. This is the only exception I've found, which is a shame since it comes so late in the game.

This game really needs a spoiler thread :)
 

Ariesfirebomb

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Nov 30, 2016
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Ah this makes sense and I kinda figured that something was up with Connor and Markus and I suspected that one of them would be that role. North was the only character in the game I really wasn't feeling. I liked her even less than the underdeveloped Luther.
 

Wonkytonk

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Jun 15, 2017
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Marathoned this game last night and today. Loved it! Might have replaced God of War as my favourite game this year, so far.

Definitely playing through again though, I was NOT happy with my ending.

Kara and Alice didn’t make it.. :(
 

MultiCore

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Even Kamski
dosent know who or what ra9 is. But it is a android code for a leader or God. He thinks it was the first deviant. That was either Kara or the first one 9 months ago in Connors files. There is serious discussion even now about it. But it’s a leader that gives hope to android deviants to get out of their hopeless situation. Depending on the investigation with Connor, you find out some androids are inexplicably drawn and write it name out forcefully. And if you find out enough of the truth, you find out Markus and Connor are the most advanced androids ever produced, unique one offs. They do things Kara couldn’t dream of. There is a reason why them and only them can spread deviancy. There was a conspiracy involving certain people at cyberlife. And depending on your choices, either Connor, Markus or North fills in the rA9 role.
So, it's not true that only Connor and Markus can spread deviancy. When you get to CyberLife HQ, Connor starts it, but every droid in there spreads it out amongst each other.
 

Dunki

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So, it's not true that only Connor and Markus can spread deviancy. When you get to CyberLife HQ, Connor starts it, but every droid in there spreads it out amongst each other.
They can do it because they are also the R model series.
 

DeadmanPhoenix

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Apr 15, 2018
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Or perhaps the game could throw at your some horrible consequences for being a good person as part of some kind of 'reality is cruel' message, but I don't think that is what the author intended.
Well I think that it's not bad, since dystopian sci-fi has a tendency to have bittersweet, morally grey endings.

However I am pretty sure what the author intended was exactly what you got. Gamedev is too expensive and too well-planned to leave such major twists without at least some risk calculation.
 

Darak

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Well I think that it's not bad, since dystopian sci-fi has a tendency to have bittersweet, morally grey endings.

However I am pretty sure what the author intended was exactly what you got. Gamedev is too expensive and too well-planned to leave such major twists without at least some risk calculation.
I dunno. I can't share your faith in game development, which is my experience is a far more iterative process. In any case, movies are at least as well planned and expensive as games, if not more, and it's easy to find movies with bullshit moments, plot holes and weird stuff that doesn't fit the tone of the movie. And despite my complaints, Detroit fares very well in that regard. I only have that one instance were I think they more or less missed the mark. Heavy Rain, Beyond and Indigo/Farenheit had a lot more problems trying to keep an internally consistent narrative.

The game is a great step forward for the genre, and I hope it succeeds. I really want to play more games following this formula.
 

Lokimaru

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Jun 10, 2014
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I played about five hours or so tonight? And... I need to talk to someone.

To preface this: I don't like David Cage games. In fact, I fucking hate them. I bought this game as a joke to stream for my friends so that we can all drink and laugh at it and make fun of it.

For a while, that's what happened. And then...

What I'm finding is that I'm genuinely enjoying and invested in Connor's sections. David Cage is preying on the adoration I have for the kind of dynamic that exists between Hank and Connor, and it's to the point where I literally do not believe that these sections were written by him. They're snappy and engaging -- well-written and well-acted.

I feel like if Markus's sections were taken out completely, I would honestly start to see this as a legitimately great game. All of the sincerely offensive bullshit (and I was seriously offended by that Holocaust pit, David Cage what the fuck) seems to be isolated in his campaign, and the game is worse off for it. I don't particularly care about Kara if only because I have zero maternal instincts and there's zero believability regarding the relationship she has with Alice (seriously, why are these two so attached to one another? Kara doesn't remember her beyond the past two days because of her reset, and because we don't have those sections of the story, I don't know why Alice sees her as a mother figure or what the actual relationship between them is meant to be), but I don't feel like that campaign actively harms the story or breaks my immersion with fits of rage the way that Markus's does.

So... this is the bad place. I've never fallen for Cage's tricks before, but he's got me hook, line, and sinker.

Someone please put my mind at ease and tell me that the game doesn't stick the landing. Because I don't like this feeling of enjoying a David Cage product that does honestly offend me at some points.
Who the fuck rails against liking something?
 
Mar 19, 2018
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It's set in fucking Detroit for Christs sake
I don't see the myriad of games set in New York with "New York:" in the title.

This joke wasn't funny the first time you made it either.
Not a joke, bud. It's an awful title. Has nothing to do with Detroit's struggles, or its people, or the attitudes of people here, or its history. It's just a random "worn down" city that they picked out of a hat and then visited to snap a few photos. I'd expect a game named after Detroit should be about the city but it's just a random setting chosen for their robot soap opera.

It's a bad title, period, probably chosen to imply a "toughness" to the game that it doesn't have.

So far it portrays humans as the absolute dicks
What game about cyborgs doesn't?
 

RPGCrazied

Member
Oct 14, 2007
39,319
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Man my Kara ending was depressing as fuck.

Connor was pretty sweet, Markus not so much. I really need to play again.
 

ST2K

Member
Jun 14, 2013
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They can do it because they are also the R model series.
But Kamski specifically states any android can spread the virus through the hand greeting. Though he also says some stress has to trigger the awakening, which doesn't really make sense.
 

Ariesfirebomb

Neo Member
Nov 30, 2016
45
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Minneapolis
I don't see the myriad of games set in New York with "New York:" in the title.



Not a joke, bud. It's an awful title. Has nothing to do with Detroit's struggles, or its people, or the attitudes of people here, or its history. It's just a random "worn down" city that they picked out of a hat and then visited to snap a few photos. I'd expect a game named after Detroit should be about the city but it's just a random setting chosen for their robot soap opera.

It's a bad title, period, probably chosen to imply a "toughness" to the game that it doesn't have.
Well David himself said he picked Detroit because of its history as the motorcity and how given its current state, it could rebuild itself as the android capital of the world and really transform itself.

He may or may not be wrong in that regard. Personally I would have just dropped Detroit and left it at "Become Human" or an entirely different title all together.
 

BurtSampson

Neo Member
Nov 21, 2013
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I’ve heard a lot about how much variance there is in choices and how they affect the story at large (not just the ending). Does that make this worth a buy? Or should I just rent from Redbox and play through it once?

I enjoyed Heavy Rain and Beyond Two Souls quite a bit, but also didn’t feel like they necessitated more than one playthrough, since the possible differences weren’t THAT drastic.
 

monegames

Member
Sep 26, 2014
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I’ve heard a lot about how much variance there is in choices and how they affect the story at large (not just the ending). Does that make this worth a buy? Or should I just rent from Redbox and play through it once?

I enjoyed Heavy Rain and Beyond Two Souls quite a bit, but also didn’t feel like they necessitated more than one playthrough, since the possible differences weren’t THAT drastic.
The endings I have seen, watched someone do 2 playthroughs on twitch, were totally different for every character. I have heard people talk about their endings being totally different from the 2 I've seen. I would say you would be missing like 70-80 percent with just 1 playthrough, judging by the flowchart after the first playthrough.
 

fvng

Member
Sep 25, 2012
6,009
36
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I am fucking loving this game. I was not expecting the story to go in the direction that it did.
 

nowhat

Member
Sep 18, 2017
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The endings I have seen, watched someone do 2 playthroughs on twitch, were totally different for every character. I have heard people talk about their endings being totally different from the 2 I've seen. I would say you would be missing like 70-80 percent with just 1 playthrough, judging by the flowchart after the first playthrough.
I've done two full playthroughs now, and yes, the endings can be very different. However, the slightly disappointing part is that many of the chapters, especially early on in the game, are very much inconsequential to the larger story. Some don't change it at all. While this is understandable (you have to introduce the characters first and so on), it makes replays a bit of a drag as you just have to go through them again.
 

Autoignition

Member
Apr 13, 2016
1,919
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I just finished the game and got (almost) the best ending.

Boy, David Cage never disappoints in the art of disappointing.

The reason why I say the "almost" best ending is because I let North die. It was an act of rebellion against the game forcing me into a romance with her. I just wanted to hear about her past as a sexbot, not invite her to sit on this dick. God.

But I think what annoys me the most is the fact that Hank was reduced to a prop at the end, and that final scene with him served no purpose. Connor didn't undergo any character growth as a result of Hank being held hostage by his doppelganger, nor did their friendship really have any sort of consequence on the story at the end; it was just an arbitrary win state/fail state situation. Connor's was the only campaign I cared about, and it just got absorbed my Markus's in the end, completely stripping Connor of any real agency or goals of his own as a character and I'm just

I don't know what else I expected, honestly. And I can't seem to find another ending on YouTube where this doesn't happen (other than the machine endings where he never goes deviant to begin with). Did anyone get something different that's more in line with what I was looking for?
 

Ariesfirebomb

Neo Member
Nov 30, 2016
45
18
150
Minneapolis
I didn’t like that the game forced me into a romance with North either. She’s actually the only character in the game I had zero interest in. As far as connor and hank, I think their ending came full circle. During the battle of the Connors it was revealed why he make dislike androids and I thought the whole monologue between him and original Connor (while the other one was just extra as fuck) was done quite well. I didn’t like the bonus scene with the him and Hank just hugging with no dialogue. That felt unnecessary.
 

Dunki

Member
Oct 24, 2017
7,608
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I just finished the game and got (almost) the best ending.

Boy, David Cage never disappoints in the art of disappointing.

The reason why I say the "almost" best ending is because I let North die. It was an act of rebellion against the game forcing me into a romance with her. I just wanted to hear about her past as a sexbot, not invite her to sit on this dick. God.

But I think what annoys me the most is the fact that Hank was reduced to a prop at the end, and that final scene with him served no purpose. Connor didn't undergo any character growth as a result of Hank being held hostage by his doppelganger, nor did their friendship really have any sort of consequence on the story at the end; it was just an arbitrary win state/fail state situation. Connor's was the only campaign I cared about, and it just got absorbed my Markus's in the end, completely stripping Connor of any real agency or goals of his own as a character and I'm just

I don't know what else I expected, honestly. And I can't seem to find another ending on YouTube where this doesn't happen (other than the machine endings where he never goes deviant to begin with). Did anyone get something different that's more in line with what I was looking for?
North died in my game too but not beause I wanted her to die but rather I could not save her because during the attack I tried to rescue the otehr guy (forgot the name) and got injured so when she went to the ground I wanted to move but could not anymore..... As for Connor his scenes are before IMO The whole time he evolves and learns about things which basically had its conclusion with Kaminsky or the confrontation with Markus.
 

Autoignition

Member
Apr 13, 2016
1,919
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North died in my game too but not beause I wanted her to die but rather I could not save her because during the attack I tried to rescue the otehr guy (forgot the name) and got injured so when she went to the ground I wanted to move but could not anymore..... As for Connor his scenes are before IMO The whole time he evolves and learns about things which basically had its conclusion with Kaminsky or the confrontation with Markus.
I see what you're saying re: Connor, but I don't think it was a good move on Cage's part to put Connor's character climax as far back as 3/4 of the way through the game. It makes that scene at the end with Hank and the doppelganger seem just like busywork because we needed something for Connor to do, especially since the liberation of the androids in that facility doesn't actually do anything. It'd be one thing if he actually needed to get those androids to save Markus with a whole "strength in numbers" thing, but he shows up with them after everything's already over, making the whole thing seem pointless.

So while the other two characters are actually going through the story climax in an appropriate way for their arcs, Connor's just... fuckin around, no longer relevant, almost like he was written out of the end of the story completely.
 
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DeadmanPhoenix

Neo Member
Apr 15, 2018
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Boi, am I glad that the game is flexible enough for me to play it as if they are literally a mulfunctioning machines that are so stuck on their creators visual similarity to them that they went on and started mimicking their behaviour and reactions. North and the whole Android rebellion can burn and I won't shed a tear. There is literally zero evolutinary or societal sense for them to request liberty and rights as they are not able to have a brain with instincts and biological inclanations that would assign values to things like private property, safety, mating, family etc. Even Markus seems to be a Jesus-like figure and a cult leader, but all he's doing is just mimicking great humans that came before him. To be frank there was little sense in manufacturing lifelike androids too, of course apart from sex-toys, in the first place.

I love how brutally my Connor shoots down silly remarks from Hank about machines having feelings.
 

manfestival

Member
Nov 12, 2009
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yall need to stop with that spoiler talk in here. the temptation is so real with me right now!
 
Apr 5, 2013
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The branching is so good. The obvious feel good route that people are touting as the "intended" story pales in comparison to what happens when you deliberately make shit hit the fan. Connor as the Terminator-like antagonist, Markus leading a full on rebellion and making Kara suffer as much as possible. I can't believe it but David Cage has really outdone himself. I expected another trainwreck like his usual work but Detroit is great.