Cop A has the exact same face as Cop B through Z. I never thought I'd see it taken quite so literally, though. I know the stereotype: all Asians look the same. Shanghai is represented well here, with evocative neon lights and an appropriate amount of grime. This time around, players can't control AI partner Kane-he is mostly noticeable when his avatar is clipping into Lynch's, or when sharing the same cover.
In the first game, an early level was a bank heist that felt multi-tiered, and the game had squad mechanics that added a semblance of strategy to the proceedings. It's the video game equivalent of stop-and-go traffic. There aren't even any grenades to liven up the action, just tossable flammable tanks or fire extinguishers that are laying around.Īstonishingly, the ill-received prequel to Dog Days had a wider variety of gameplay. The gist of the entire game is this: Players enter a room, shoot a dozen or so thugs or police officers, and the next area opens up… where the player shoots a dozen or so thugs or police officers. Oh, and remove the promise of great dialogue and an intriguing and operatic high-stakes plot. Now, take away the super powers that added some diversity to the battles, the sometimes necessary teamplay mechanic, solid aiming, and guns that felt heavy and great. Try this: imagine playing Mass Effect 2, with its so-so cover system, penchant for forecasting a gunfight by crowding a room with chest-high cover, and not-so-great enemy artificial intelligence. I feel bad even mentioning Gears of War in the same paragraph. Players have probably already seen several games far better than this. The games discourage kills and emphasize logical brain work and finesse, but nothing as complimentary can be said about Dog Days. Hitman is so breathlessly innovative, the rest of the industry has yet to catch up to its courageous pacificism. That was not easy for me to write, only because of my personal affinity for Io Interactive's flagship Hitman series. Kane & Lynch 2: Dog Days sucks big, fat, uncensored. As a result, the game feels as taboo as Japanese porn, so it's only fitting for me to describe the rest of the game as such: It even takes the time to censor out genitalia and some extreme gore with heavy pixelation. It's panicky, chaotic, and it deserves to be imitated. When things explode, static fills the screen. It's very engrossing, and when Lynch is momentarily downed by an enemy, you feel as close to the ground as he does. Hideously profane and nearly devoid of any thrills, the only highlight of Io Interactive's Kane & Lynch followup is the camera work and visual style, aping a YouTube look to give the entire game a documentary flair. WTF: The level where you run around naked with more open bloody wounds than Jesus in Mel Gibson's The Passion of the Christ.
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