I love this game dearly. I love the atmosphere, the stealth, the intrigue of the story, and the brilliant soundtrack. In short, it vibes.

It's great fun to play stealthily and find hidden routes, and to get creative with the many tools you're given. It always struck me as odd, however, to make stealth takedowns a mini cutscene instead of making them part of normal gameplay like every other stealth game. They look really jarring and awkward.

While I did enjoy the story, it doesn't have much in common with the original Deus Ex and at times even feels like a different universe. The story focuses almost exclusively on the singular issue of human augmentation and it happens to be the only issue characters will comment on and debate throughout the game. The original Deus Ex explored a number of issues and most of them are a lot more thoughtful and relevant, even after 23 years, than the conflicts of Human Revolution. While some aspects of gameplay like stealth and shooting are vastly improved from the original game, a lot of interactivity with objects and the environment has fallen by the wayside.

In summary, as a successor to the original Deus Ex it feels somewhat dissonant for a story that's supposed to be in the same universe, but as a stealth-action game it's immensely fun and the atmosphere and soundtrack are excellent. I give it such a high rating because I love it so much in spite of its flaws.

Unfortunately the Director's Cut (which is the only version you can buy on PC) has a terrible implementation of mediocre DLC in the middle of the campaign which is a black mark on an otherwise great game.

Honestly, this game is really fun in terms of gameplay - essentially just where it's a stripped down action game with RPG elements in it, and there's so much fun to have in terms of the skills you acquire in this and the stealth and the gunplay. It's something that I find incredibly fun just to mess around with and it's very functional in terms of just being a pure action game.

One of my biggest faults just comes from the story and just how it's so lacking compared to the first one. The first one worked because of how it's such an interwoven web of conspiracy - where the issues captured in that game are accurate, but then it's also about the absurdity of paranoia - where it's not exactly fully correct or wrong, but about how it's such a meshed combination of the two - some of them are casted as almost prophetic or really intricate and studied, and others are just casted as being completely wacko and so on. It's very much a game which is confrontational of the conspiracy theory mindset.

This game mainly just handwaves a few things about FEMA camps, gangs, police brutality, giant corporations and human augmentations (which apparently the whole game decides to revolve around) - and I just felt that it was really lacking in terms of what it's trying to explore. It tries to do something about human advancement but so much of it just feels like aesthetics - like someone ripping out passages of a book or some sort of art piece without really understanding what's behind it.

There's just not really much of a follow-through with it, or really enough to justify this as though it were a Deus-Ex game. Although, this is otherwise fun if it were treated as a standalone entry - definitely an incredibly functional game, and so fun to play at points. But again, the story here is just really lacking.

The 2027 A.D. is a lovely year to live in. In the midst of the explosion of transhumanism and the resulting social and economic conflicts, there is a world to be discovered, in which to intervene to influence the fate of entire cities and massive corporations worth billions. This is the main objective of Adam Jensen, head of security at the Sarif Industries and at the centre of a plot involving industrial espionage and transhumanist philosophy.

Deus Ex Human Revolution (DEHR) is a delightful addition to the cyberpunk canon. It picks up for narrative and purpose from a lot of the genre milestones such as the novel Snow Crash by Neal Stephenson, mixing apparently anachronistic themes with the consequences of an ultra-technological world where the boundary between organic and machine life becomes thinner and thinner. In the case of DEHR, this union is presented as a visual and thematic Cyberpunk Renaissance, with the setting being a futuristic ambient but the fashion, arts and the sense of grandeur from the majestic times of the XV century.

The era the game is set is lends itself to describe the contradiction of a technology that does not cease to evolve and move forward, contrasting with the part of humanity scared by the moral consequences that this advancement means. DEHR is often thought of as a curious hybrid of stealth and RPG because, beyond the exploratory and infiltration part that constitutes the first genre, the players will be led to answer moral questions related to the issues of technological development, influencing with their decisions the outcome of missions, destinies of people and the conclusion of the game itself.

In addition to this, the roleplaying component can be also observed in the wide variety of personalization that Jensen may receive by obtaining experience points. The player can aim to improve his hacking skills to ensure quieter and more precise infiltrations or decide to increase stamina and physical strength for a more "brutal" and direct approach.

Despite how enthralling the narrative of the title is, the gem of the game is certainly the stealth gameplay: offering the player immense but perfectly connected, contained and full of secrets maps to explore, DEHR offers a vast experience suitable for any style of approach to achieve certain goals, even if they are, more often than not, simply "go from point A to point B" or "get some data from computer C". The presence of side missions, some presented to the player, others hidden between the urban layers, increases even more the sense of greatness of the plot and world-building.

Years ago, at launch, the game could be blamed for, despite the ability to play without ever triggering an alarm or ever facing an enemy, some unavoidable boss fights, which were both mandatory and made futile to customize the character as a non-lethal spectrum. The Director's Cut, however, has masterfully solved this problem, magnifying different aspects of the basic game as well as the arenas of the bosses, expanding them from simple and bare rings to larger puzzles which lend themselves to the most different approaches for solution.

The Missing Link DLC can also be seen in a slightly negative way, as it blocks the narrative right in the middle for several hours and forces the player into an obligatory scenario that adds little to nothing to the main storyline.

DEHR works very well on every level it tries to explore: as stealth it presents claustrophobic, dirty, ultra-technological and rich in possibilities environments, among the pinnacles that the genre has to offer; as an RPG it is dictated by customization, immersion, a very strong narrative and a system of choices and consequences which brings some really interesting questions to light, especially for the modern context we live in. The relative simplicity of the title, even at the highest difficulty levels, allows anyone who wants to give a chance to something new to feel welcomed in this exciting and thrilling cyberpunk world.

Honestly, I didn't know about the Deus Ex franchise. I bought it because it was cheap and left it leaning against the library. After beating it, I was left with this feeling: "Damn, why didn't I play this game before?"

Firstly, I want to talk about two things that I really liked about this game, which are the plot changing according to the player's decisions and you being able to complete the same mission in different ways, either in main or secondary missions, another thing that I found very interesting was the upgrade system, you have to carefully choose the upgrades you want to do because you won't be able to get them all, the gameplay is good but I found it strange and a little difficult at first but it was just a matter of getting the hang of it and everything worked out fine , the story of the game is very good and interesting, it held me from beginning to end, the graphics and the soundtrack are ok.

The only negative point of the game is the Artificial Intelligence of the enemies, not the bosses. You will be able to kill several enemies, even without changing hiding places and they will not notice you there. That's kind of off-putting, it doesn't really challenge you.


In conclusion, it's a great game in the cyberpunk style, it manages very well to mix the elements of rpg, stealth and fps, there is a having a very cool futuristic setting, in addition to giving you a story with several choices and endings, it's really worth playing.

All together, Human Revolution is a good game. I believed the narrative to be quite well put together, as well as having a lot of interesting world building. However, and I feel as if I am maybe a little bit of an out-liar here, but this game is not amazing. The mechanics are good for what it is, but sometimes feels confused. I know this game wants you to really control the way everything works out in the end with stealth vs gunning, but I never really felt good doing either; from a narrative standpoint, and more so a gameplay one. Do not get me wrong however, I did have fun, just could not really get into it.

Although it's a prequel to the game that's often held up as the quintessential immersive sim, Human Revolution is in fact an entirely different beast. Sure, it looks like a Deus Ex game, but when I peer deeply into its mechanics, I see two major influences, neither of which was produced by Ion Storm.

Those influences are none other than Metal Gear Solid and The Elder Scrolls IV: Oblivion.

The radar, the tranquilizer rifle, the shifts between first- and third-person POV ... maybe I'm wrong, but I feel like these devs wanted to emulate Kojima. And it's not just Metal Gear -- they were clearly fans of Japanese games in general. These are guys who grew up playing Final Fantasy VII and they aren't shy about it.

The quest design, on the other hand, follows more of a Western approach. Quests are doled out just as they would be in a Bethesda game, with clear goals recorded in a journal and juicy rewards upon completion. While the side quests take a back seat later in the game, the early areas of Detroit and Hengsha play as like miniature open-world RPGs.

MGS gameplay plus Western RPG elements, then? It's a perfect combination, and for the most part Human Revolution makes good use of it. Outside of the boss battles, which are universally lame, the game plays smoothly and maintaining stealth is fun. I think I had more fun with the stealth here than I did in any of Arkane's games, if I'm being honest.

What drags the game down, then, is the big-picture stuff. The story makes sense, but there are too many characters who each get too little screentime, and because of this nothing resonates like it should. You can tell the developers wanted to make this game absolutely epic -- a globe-trotting Oblivion, if you will -- but ultimately they ran out of time. The end product is still great but it feels oddly incomplete. Hengsha really suffers in this regard -- it's essentially a copy/paste dystopia of ma-and-pop convenience stores and butcher stalls with a few key locations added for good measure.

Before I sign off, I just want to say that I do really admire the game's visual design. Like I said in my review of Bulletstorm, games from this era feel huge in a way that modern games often don't. It turns out massive dams and endlessly sprawling cities are more impressive when you can only gaze at them from afar -- once you can visit and explore them, the spell is broken.

I feel like I was born too late to be impressed by this game. You see, despite the obvious labour of love Eidos Montréal have put on display here, 'Human Revolution' bears many sins, the one of most weight sadly being that, unlike the original, it just isn't timeless. It's unfair, deeply unfair, because it's not reasonable to expect any art to be so, yet it has left me feeling more distant from this prequel than I ever wanted to be. I had an expectation set that 'Deus Ex: Human Revolution' was likely to be a more dumbed down version of the original 'Deus Ex', but what is really fucked up is not just that this is a totally accurate description of what the game ended up being, but that Eidos Montréal almost escapes it. This game could have been great, but unfortunately I could only ever see myself being impressed by 'Human Revolution' if I had been playing it in 2011, when the immersive sim was practically dead and it would have become my beacon of hope for the genre. Between an amazing first half, some of the best presentation in the whole medium, great characters, a complete collapse of level design in the second half and a story which frustratingly postures rather than ever taking the many opportunities it opens to actually say something interesting, 'Human Revolution' left me the most conflicted I've felt about a game so far this year.

I've been on the dangerous record saying that the original 'Deus Ex' has the worst presentation of any old school immersive sim, as much as the game is undoubtedly engrossing, there aren't too many moments of stunning art direction, and while the tracklist had some bangers, the music never really effectively held consistent sonic textures which helped bring me into the setting as well as other titles from the time. I know this is likely blasphemy to some, but I certainly hope saying that 'Human Revolution' knocks it out of the park isn't. What a stunning video game. Very few games that come out these days look anywhere near as good as Eidos Montréal's depiction of Detroit or Hengsha. It's a perfectly constructed cyberpunk mood. McCann's score deserves every ounce of praise it has received and then some, with its hauntingly atmospheric synths and angelic vocals climbing up the dreary walls of the game's cities. Oh yeah, and the yellow tint actually looks kinda cool. The visual theming is really spot on, it does however have two major flaws. While looking cool, the prevalence of yellow is brought down by the fact that it is one of way, way, way too many references to the myth of icarus, an allusion the game flaunts as the axom for its really underwhelming message—which I'll get to in a bit—and the sharpness of all the designs—which again, yes, look cool as hell—breaks visual continuity a bunch. It's really hard to believe this game is a prequel with how technology is handled visually. Neither of these complaints prevent me from feeling confident in praising the visuals however, especially considering that the "glow of the sun" yellow is far from the most irritating way the game connects itself to Greek myth. This all, in combination with the absolutely fantastic voice acting and solid flow of dialogue makes it very easy to think that 'Human Revolution' is a very smart game, but sadly it is all style over substance here.

The overall design makeup of 'Deus Ex: Human Revolution' feels like a very surface level reading of what the original game was doing. This is due to execution of level design as well as game systems and mechanics. Things start off really great, which is why I say the game could have been great, in the first five hours—barring the weirdly wanky "cinematic" opening—we see here a vision of what an early 2010s Deus Ex game could be. It's not as clever or ambitious in scope as the original, but it's accessible for those not into immersive sims while still maintaining the spirit of the genre. I cracked a big smile when doing the 'Lesser Evils' side mission where I had to break into the apartment of one Brian Tindall, seemingly through a one way gate locked by a keypad Adam wasn't skilled enough to hack, and I simply ran around the level to find some physics objects to stack some boxes and vault clear of the gate. Of course, this is pretty bog standard as far as emergent gameplay goes, but the lack of invisible walls was showing that this environment was put together with the right attitude. Sadly, this is about as close as the game gets to being as stimulating as the original. Proper levels do have possibilities for simplistic emergent gameplay, but what really needs to be considered is the way this game views the idea of a level being 'open ended.' The original 'Deus Ex' invited players to approach the environment in any way they chose as well as find ways to explore it to discover new alternatives. 'Human Revolution' does this but to a far less interesting extent. The removal of lockpicking as a mechanic means hacking becomes the only skill gatekeeping certain pathways—and, in one of the weirdest, most annoying choices Eidos Montréal made, is sometimes the only pathway. No I'm not kidding lol, it is super weird—and vents have become glorified shortcuts to objectives rather than strategic traversal tools. While this prevents the game from ever really intellectually stimulating like the original and occasionally makes it pretty annoying, most levels do have a variety of thoughtful access points, like openable windows, roof entrances, back doors, and vent shafts that actually makes logical sense. hidden inside walls which you can enter from the outside. It's like a popcorn immersive sim, because those access points are great icons of good design, but most other elements of traversal have been sanded down too much to really have the player think. Getting in is the interesting part, because when I'm actually sneaking through a building in 'Human Revolution', I don't make an infiltration route based on the game's simulation logic in my head, like a good immersive sim should be making me. Instead, the thought process is "lol where's the next vent hidden so I can just skip straight to where I gotta be because I know it will always take me to where's most convenient, I hope there's no mandatory hacking this time." This is the caveat of making your immersive sim more accessible, was it worth it? Maybe, given how many people were introduced to the genre and series because of this game, but it sure as hell don't see this game ageing well. The more superficial aping of the 'Deus Ex' formula is what will make or break the first half of 'Human Revolution' for you, that is, before the game completely shits itself in the second half. As soon as you leave Montréal, 'Deus Ex: Human Revolution'' goes from cool but kinda superficial cyberpunk immersive RPG to annoying, posturing stealth cover shooter. This collapse into more bog standard, less open ended levels isn't uncommon among the genre—I still love you, 'Vampire: The Masquerade - Bloodlines', or, at least I try...—but no less saddening here. This did, however, make me realise just how overpowered guns are in the sandbox. Despite being an ex-cop turned security guard, Jensen is a master of all weapons right from the get go for some reason, unlike Denton—who, being just a cop—knew his way with a handgun but little else firearm related if the player didn't specialise otherwise. It makes sense for Jensen to be able to brandish a 10mm pistol decently, not have deadaim with a fucking plasma rifle from the get go. Get a red dot sight? A revolver? You beat gunplay. There are zero downsides to the upgrade and it makes it easier to dome your opps from across a high level research lab than sniping a guy from the same distance with rifle mastery in the original 'Deus Ex' ever was. I don't like playing this way, but it was so efficient that it took effort to not just resort to it. Oh and uh, speaking of standard combat, all that shit you've heard about the boss fights? Yeah it's all true, these are—no hyperbole—the worst boss fights I have ever played in a video game. Forced combat in an RPG like this is already pretty lame but it doesn't help that the fights themselves just play awfully. I was willing to forgive all this, these are mistakes immersive sims past which I love make, but there's another thing about 'Human Revolution' that's frustrating in how it could have been better, and that's the handling of the core views and values.

This is where Eidos Montréal solidified their prequel as more strikingly ostentatious rather than seriously intelligent. Transhumanism as a topic is just handled so badly here. Now, Ion Storm's classic was never subtle I'll grant you, but it escaped mockery by being both considered and relevant. Here's a little microcosm to look at, the opening shots of the games.
In 'Deus Ex' the first thing you see is the iconic—but pretty cartoonish—image of a statue, a huge hand over the Earth, sitting before two men aiming to rule the world. In 'Deus Ex: Human Revolution' you see a statue of Greek legend Icarus, coming up from his physio-typical legs to his fleshless wax wings, right before one man aiming to rule the world. Both these symbols tie into the games themes, 'Deus Ex' was a game about many things, the uncertainties of who really controls the future of our civilization? Who wants control? Why do they want it? Why is it that we crave the idea of god so much? Is it because we should want to be ruled over, because the fate of mankind is so impossible to dictate in a way which won't in some way harm a part of it? Is it because we have an integral want for something to recognise our existence? Look up at a hand over the world, see it embody both the socioeconomic and theological values that this predictive fiction has put on the table. As 'Deus Ex' became more and more prophetic, this handfisted symbolism only became harder to mock.
In 'Human Revolution', the Icarus statue symbolises that, um, transhumanism is just like that, you know with the wax wings! It might be bad, what if we fly too close to the sun and, like, bad things might happen because of it?? You know???
The myth of Icarus is really trite already in most media but it's made all the more damning by the fact that 'Human Revolution' doesn't really bring any interesting or relevant ideas about transhumanism to the table, I'd be less condescending if it did.
The best predictive art forms their dystopic visions from extrapolations of already existing societal flaws, 'Human Revolution' tries to do this, but it doesn't really work. There are hardly any tangible arguments against a transhumanist future in our current socioeconomic that the game decides to bring up in passing when it should be focusing on them more focally. The increase of the homeless in Detroit because they've been fired for refusing to modify their bodies to work more efficiently is pretty powerful, especially when you find the workers who have replaced arms with literal tools later on. And that's it, the way capitalism could impact transhumanism just ends there. Remember how one of the most powerful things the original 'Deus Ex' presented was economic disparity? You know, something directly related to the world at the time and today? Yeah, this is like the only place where something even remotely like that comes up. All anti-augmentation arguments are just stupid, vague moralistic stances about how it's 'not human' instead of anything that is tangibly, directly related to our real world. Just weird posturing which put me off the story by the end.

There is a lot to like about 'Deus Ex: Human Revolution', but ultimately, while I'm hopeful about what 'Mankind Divided' could do, I doubt the Adam Jensen story has the maturity to deal with the topics that made the original 'Deus Ex' so interesting to begin with. A 'baby's first' immersive sim with a pretentious story sounds bad, but at least 'Human Revolution' knows that if you're gonna be style over substance, keep some of your good ideas around and make sure it's really stylish. I respect the shit out of this game for trying in a time where games like it were dead in the dirt, but I can only wish that I had been there to see it in 2011, because Eidos Montréal's effort here doesn't hold up today, despite everything they got right.

Deus Ex human revolution is an amazing game made by people who really didn't want to make a Deus Ex game. The story's ok albeit very 1 dimensional, the only hot-buttoned societal issue that everyone is talking about are augmentations. Unlike in the first game where all aspects of society were analysed and deconstructed like the role of god and government, corporate bureaucracy, the argument as to whether or not the US is in a plutocracy the list goes on. Human Revolution never really shows any deeper meaning behind the augmentation argument aside from people being for or against it. The gameplay definitely feels more modern for better or for worse, but the story lacks any sort of weight and substance compared to the original.

Não é o caso do jogo, mas ele me passa uma vibe de um projeto que foi feito pra ser de uma IP diferente no meio do desenvolvimento, tipo o filme de Starship Troopers que no início era outra coisa. Esse jogo é tipo MGSV ou Prometheus no sentido de que é uma prequel feita pra fazer conexões que....ninguém liga? Ou só eu não ligo. Existem histórias e histórias e casos e casos que uma prequel pode funcionar mais ou funcionar menos. Metal Gear é uma história mais introspectiva e por isso prequels como MGS3 funcionam, mas Deus Ex é sobre o mundo inteiro e como ele reage à tecnologia, e o final desse jogo é inteiramente sobre isso. Eu não sei como o Mankind Divided vai tratar isso mas a gente meio q já sabe como as coisas vão estar no primeiro Deus Ex, então essa história, pelo menos pra mim, acabou não tendo muito impacto.

Falando no primeiro Deus Ex, uma das coisas que contribuem pro sentimento que eu apontei no início, é a estética e os visuais desse jogo. O primeiro se passa em 2050 e é um jogo extremamente pé no chão. Óbvio que existem coisas como nanotecnologia, ciborgues e hologramas, mas no geral, na forma de veículos, prédios, armas, é tudo bem atual e relatável. Esse jogo se passa em 2027 e tudo parece mais tecnológico, fantasioso, diferente doque a gente tem. Esse tipo de diferença é bem explícita nos computadores, helicópteros, soldados, que no primeiro pareciam bem atuais e aqui se parece bem futurista. Isso de forma alguma é uma reclamação, mas é algo estranho no sentido de me deixar curioso, e acaba dando uma gigantesca identidade visual pro Human Revolution.

No departamento da gameplay, ela é funcional. Joguei o jogo inteiro no stealth sem matar ninguém e é bem viável, só se prepare pra ter MUITA paciência e dar load em save que é uma beleza. O tiroteio do jogo me pareceu bom e muitas vezes eu só queria dar tiro em todo mundo.

O level design é bom e muito bem pensado, como qualquer jogo que aspire o mínimo a ser um ImmSim deve ter, com bastante opções, como esperado.

E também, um grande salve pro sistema de diálogo desse jogo, é muito criativo, foda, interessante, e seria bom se mais jogos fizessem coisas assim.

Assim como o primeiro Deus Ex, esse jogo tenta fazer bastante coisa e acaba sendo o tanto quanto fraco em algumas partes, mas na soma das partes, acaba sendo uma experiência positiva.

Não é o melhor Immersive Sim da época dele e não deve ser o melhor Deus Ex, mas é um jogo bem massa, e foi uma boa repaginada do Deus Ex original pra uma geração mais atual, em um sistema e game design mais atual.

You know what, I DID ask for this, because this shit was a blast.

Felt nice to play a cyberpunk game that actually understood that the cyberpunk genre is not simply neon lights and sex dolls. Especially one where you have actual choices and consequences that could affect the outcome of your missions. Seriously, there's some 200 IQ moments to be had here, where the game definitely makes you feel smarter than you are. Or on the other hand, makes you feel as dumb as a brick, depending on how you handled the situation.

Combat wise the game is decent enough but the stealth definitely shines and is borderline amazing, though the occasional horseshit AI does hold it back a bit. Still, it's a damn fine game with an interesting story, great immersive sim elements, and a kickass soundtrack. It's just a shame that some dickface degenerate decided that boss fights should be added to this. Every time those came up my mouse teetered on the .5 star button. Also since I'm complaining, whoever added dickhead mines that have a 3,000 foot detection radius and don't come with a disarming tutorial, fuck you.

4 outta 5

CDPR y'all are some mid smokers for turning CP2077 into "Neon GTA: Scuffed Edition". Eidos already gave you the blueprint in 2011 (Except for the ending, which of course is pretty much the only thing CDPR took after).