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Deus Ex Human Revolution Mission 06 Montreal / Recap

http://tvtropes.org/pmwiki/pmwiki.php/recap/deusexhumanrevolutionmission06montreal

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Mission 6:

Malik asks Adam if he’s sure about infiltrating Picus while they’re enroute to Montreal. He tells her that Eliza Cassan is their best shot of following the conspiracy.

He exits on the roof and heads inside while Pritchard calls to tell him that Eliza’s office is in Room 404. Adam heads down a level to the main newsroom, only to discover that the offices are empty and no one is at their desk. Pritchard asks why a 24-hour news network doesn’t have anyone answering their phones. Spilled coffee and overturned chairs suggest a rapid evacuation; sealed fire doors and emails on hacked computers confirm it.

Adam continues on to Room 404 and finds Eliza, who greets him and says that Zhao doesn’t know he made the connection with Picus. She tells him that she’s been watching him ever since she disrupted satellites over the Detroit metro area six months earlier. She then reveals that she has alerted Belltower to Adam’s arrival and tells him he still has time to escape. When he tries to grab her hand and take her to the roof, his hand passes through hers and he realizes that she’s a hologram.

Pritchard tells Adam to run, and he in turn informs Pritchard to find Eliza’s actual location. Adam fights through troops in the offices and makes his way to an elevator.

Pritchard calls back to inform him that there’s a secret server room that can be accessed through a funicular platform, and Adam makes his way there. He eventually gets to the funicular, but it’s at the bottom of its run, and summoning it gives away his location to the Belltower troops. Once they’ve been dealt with, the funicular arrives, and Pritchard tells him on his way down that the broadcasts are coming from Room 802.11.

Once there, Adam sees the real Eliza — an AI construct which exists on the server. She thanks Adam for finding her and says that she has been curious about him for the last six months, then goes on to explain how she shapes the news through her broadcasts.

Adam asks who created her, and she tells him that Zhao and others are the ones she works for. He demands to know where Megan and the scientists are, but the conversation is cut short when the second of the Tyrants, Yelena Fedorova, decloaks and enters the room.

A fight ensues and Adam defeats Fedorova. As she lies on the floor bleeding out, Adam demands that Eliza answer his questions. She reveals that Megan and the other scientists vanished from the grid after a doctor removed their GPL implants. He asks who the doctor is, and Eliza plays a recording of Isaias Sandoval, William Taggart’s aide, talking to Namir, who requests that he remove the implants after the scientists are captured. She tells him that Sarif has more answers, and gives him a copy of the conversation to show to him.

Malik meets Adam at the nearby helipad, and they head back to Detroit…

Artificial Intelligence: Eliza Cassan turns out to be one, using holograms to give an illusion of physical presence when it’s necessary.
Arson, Murder, and Jaywalking: One of the first emails you find near the newsroom has a trio of emails. The first is a security alert advising everyone to get out the building because of an unspecified dangerous situation, with the second written from a fellow co-worker who urges them to get out immediately. The third email is from an employee, Bridget, who uses the opportunity to chastize the employee for parking in the wrong spot at the office lot.
Breather Level: The introductory section of the mission, coming off after the escape from Zhao’s penthouse (and the potential fight with the two boxguards) is full of this, being completely devoid of enemies (and referencing Nothing Is Scarier) until you meet with Eliza and trigger the ambush.
Broken Bird: Eliza refers to Fedorova as a «furious, hollow» woman during the battle.
Captain Obvious: Eliza constantly chimes in during the Fedorova battle, to the point of annoyance. Remarks like «she is hiding until she can use her cloaking implant again» and «Adam, run» when she’s attacking him directly do little to stop the annoyance.
Casual Danger Dialogue: Eliza can be heard saying things like «Here she comes» and «She will follow her orders to destroy us both» in a deadpan voice during the Fedorova battle.
Common HTTP Status Code: 404 is the HTTP response code for «not found»; Eliza isn’t actually in Room 404. 802.11 is the IEEE standard describing the basic mechanisms of wi-fi; Eliza is actually in a room with that number, and her direct involvement in the plot revolves around the manipulation of wireless signals.
The Dragon: Fedorova, to Namir.
Foreshadowing: One of the emails you find shortly before «meeting» Eliza in 404 is from an employee who mentions how they’re trying to get her fitted for a new outfit, but are having trouble actually meeting in-person with her to get her measurements.
Got the Whole World in My Hand: The Picus «globe» statue, found in their headquarters, has plenty of vibes referencing this, according to several company emails the player can find.
Landmarking the Hidden Base: Picus News has a secret facility under their offices where they fabricate and/or tweak news to better suit the Illuminati’s plans as well as where Eliza’s computer is hidden. Their offices are in the Montreal Olympic Stadium Tower.
Lured Into a Trap: Discussed. Pritchard warns Adam that he’s going into one, and Adam says he expected it but is still going to find Eliza.
No OSHA Compliance: As part of the general rebalancing of boss battles in the Director’s Cut, the redesigned Room 802.11 now has a second level that pumps gas into the first floor, for no other reason than to damage Fedorova on behalf of players not equipped (or not inclined) to do so directly.
Nothing Is Scarier:
- Pritchard expresses surprise and a bit of fear when he realizes that the Picus offices are empty and no one’s answering their phones.
- Fedorova relies heavily on her cloaking augmentation in combat and deals damage with close-range attacks, including a Typhoon aug that’s an almost guaranteed one-hit kill. It can be disconcerting not even to be able to see the person who’s coming to kill you.
Series Continuity Error: One of the company emails you can find in Picus claims that a «Nicolette Duclare», seemingly the same woman from the original game who (at best) would have been a child during the events of Human Revolution, works at the company. There’s no indication whether the names just happen to coincide or if it was some sort of misdirection.
Shock and Awe: Fedorova can be defeated by blowing up the generators in the boss room, which electrifies the floor and injures anyone who happens to be standing on it. Jensen can tank this damage with enough healing items, or avoid it with the right combination of augs; Fedorova isn’t so fortunate.
Shout-Out: The Picus main newsroom is modeled after that of the New York Times, right down to the architecture and position of the desks.
Stalker with a Crush: Eliza tells Adam that she’s been «following him» ever since the Sarif attack, and repeatedly comments on how pleased she is to see him.
Suspicious Video-Game Generosity:
- At the entrance to the funicular (and just prior to a major battle), the table in front of the door has weapons, mines, and a sentry bot that can be hacked to fight against the Belltower troops.
- The hallway leading to Room 802.11 has side rooms filled with weapons and ammunition, including a heavy rifle and plenty of ammo, in anticipation of the battle with Fedorova.
Tuckerization: One of the emails makes reference to Australian ex-Prime Minister John Howard, who is writing angry emails to Picus about the depiction of his country in the news, while another references musician Jonathan Coulton, referred to here as an «elder rocker».
Viewers Are Morons: In-universe, there’s an email you can read at Picus where one of the corporation’s execs reminds their writers that people have the collective emotional maturity of a five year old and that Picus should treat them as such.
The Voiceless: Fedorova, although she can be heard grunting in pain after the battle.
What Measure Is a Mook?: Two of the Belltower troops near Room 802.11 talk about how they want to take a tour of the building and see the history of Picus after killing Adam.

Why Deus Ex: Human Revolution Is Being Forgotten

The original Deus Ex, released in 2000, quickly cemented a lasting reputation for its level design, plot, and complex systems that encouraged player choice. Its 2003 successor, Invisible War, was just as quickly reviled as one of the worst sequels ever made (though it was critically well received). It may have been because both games were developed by Ion Storm Austin, or because Invisible War was still passable when judged purely on its own merits, but the fan base became convinced that a worthy sequel to Deus Ex was impossible. As if to prove the point, several Deus Ex projects were canceled, Ion Storm Austin folded, and the game’s leads moved on.

Fast forward to 2011 and Deus Ex: Human Revolution defied expectations. Developed by Eidos Montréal, a studio that hadn’t shipped a single game and didn’t have Ion Storm’s Looking Glass Studios heritage, it nonetheless released to widespread community and critical acclaim, aggregating the same Metacritic score as the original.

And yet a decade later, while Human Revolution often features in digital sales and tracks well in recent Steam reviews, it rarely comes up in critics’ recommendations, features, or best-of lists. Meanwhile, other immersive sims from the era (Dishonored, BioShock) are still frequently discussed and top various lists and replay recommendations.

No doubt some of the blame rests with Eidos Montréal’s follow-up. Deus Ex: Mankind Divided did a good job of expanding its predecessor’s systems and level design, but it also relied on a convoluted, unevenly paced story with an abrupt ending, dialed up the melodrama, and introduced a multiplayer, DLC, and micro-transaction plan that eventually put the franchise back on hiatus.

But I think the core issue is the design of Human Revolution itself. It followed a subtle, carefully crafted, but ultimately conservative approach to the franchise: Rather than try to innovate on the setting and systems of the first game, in many ways it simply gave them a new coat of paint for a new generation of hardware. As a prequel, Human Revolution was able to sidestep the legacy of Invisible War and shrewdly position itself as its antithesis. But this approach also ensured that with time it would be forgotten in the shadow of the original.

Like Deus Ex’s JC Denton, Human Revolution protagonist Adam Jensen is a shades-sporting, trench coat-wearing, genetically marvelous chosen one with a gravelly voice and an attitude problem. The look and feel of Human Revolution’s Detroit, Hengsha, Panchaea, and its level-hopping jet bear more than a passing resemblance to the original’s New York, Hong Kong, Area 51, and its stealth helicopter.

Human Revolution even found a narrative excuse to replicate the permanent darkness of the original: Jensen visits Detroit at night, and Hengsha is built on two levels, with the upper occluding most light to the lower. There are less subtle appeals to nostalgia too: The grid-based inventory system, the ribbon at the bottom of the screen with numerically indexed items, the snippets of Alexander Brandon’s and Michiel van den Bos’ original score coming out of stereo systems scattered about the world, even the awful regional accents — they all invoke the atmosphere of the first game.

The gameplay likewise largely borrows from the first Deus Ex. Human Revolution is structured around sneaking, talking, shooting, and exploring through complex environments that offer a variety of different approaches for the player to choose from. Larger levels, like the outstanding Tai Yong Medical infiltration mission, are connected via a couple of hub maps that offer side quests and additional exposition.

To some extent this is just part and parcel of the immersive sim genre, but the problem is that Human Revolution is entirely content to leave it that way. It attempts some innovations, but these are mostly shallow and forgettable tropes from the Xbox 360 / PlayStation 3 generation: automated takedowns, recharging health, a hacking mini-game, a cover system, oversized objective prompts, and simplified RPG mechanics. There are occasional flashes of genius — the persuasion mini-game, where Jensen must engage in fierce debate with a key character to progress to the next objective, is both entirely original and wholly in keeping with the spirit of Deus Ex — but they are few and far between.

In contrast, Human Revolution is surprisingly bold with its story, world-building, and art direction. This masks its limitations and probably accounts for much of the goodwill around its release.

Human Revolution deftly plays with the expectations set by the fiction. Jensen’s employer, biotech magnate David Sarif, is shady and evasive, but it turns out he is a play on the “evil corporate” stereotype: It’s a genuine surprise to find that, at the end of the game, Sarif is (sort of) one of the good guys — just naively and deeply in over his head.

It’s equally clever in how it foreshadows the events of Deus Ex, refusing to let the latter’s characters do any serious narrative work and largely confining them to notes and emails. These form part of a broader range of rich, layered, and sometimes unsettlingly relevant world-building devices. News articles, ebooks, radio shows, graffiti, and posters scattered around the world discuss transhumanism, body purism, climate change, discrimination, economic expansion in East Asia, the outsourcing of state functions, the gradual failure of antibiotics, violent protests, and so on.

The world-building is elevated by the art direction. During development Eidos Montréal cited Renaissance art as an inspiration, especially the gold hues that signify opulence and prosperity. It’s too much at times; there are levels where entire areas seem to be colored gold, and switching among the gold UI, the NPCs with their ghastly gold-filtered facial animations, and the gold environments is exhausting. But by and large the singular color palette serves to tie together a remarkable variety of styles and assets.

Here Human Revolution unequivocally surpasses the original. The environments pack everything from the baroque furniture and Blade Runner-esque clutter in Jensen’s apartment to the sleek modernism of Tai Yong Medical. They include subtle, easily missed touches, like a set of decorative spheres in Sarif’s office, which can later be seen, fuzzy and distorted, in the glass panes of a rival company.

And they use color and lighting to underscore fascinating narrative themes. A late-game area that serves as a prison for a scientist is rendered entirely in black and white, for example. It stands in stark contrast to the game’s typical gold palette and may be interpreted in many ways, but it immediately reminded me of Frank Jackson’s “Mary in the black and white room” thought experiment.

Unfortunately, immersive sims are defined primarily by their atmosphere and their gameplay systems. So when Human Revolution’s bold narrative and artistic choices stumble, as they do in the final act — a cyberpunk spin on the zombie apocalypse that ends with a literal button-press choice of endings — it’s all the more apparent that Human Revolution is at its core mostly just the original Deus Ex with a facelift. Well-made and handled with great care, no doubt, but a facelift all the same. And like any facelift, it can’t aspire to the same kind of longevity as the original.

Walkthrough Deus Ex: Human Revolution — Montreal

Adam Jensen is back on the road. This time, Malik is taking our tin woodcutter to Montreal, Canada to meet a global celebrity, Eliza Kassan, who must have information on the whole mess going on with Adam.

Once inside the building, you’ll find that it’s painfully quiet for an international 24/7 news network. Having arranged a small looting raid in search of loans and other useful things: you have not forgotten that Adam Jensen is just the head of the security service of a large corporation — he does not have to dream of money for additional expenses. nine0003

Once you’re happy with everything you’ve found, head to Eliza’s office for a cutscene. After talking with the TV presenter, an alarm will sound telling us that in ten seconds the floor will be filled with mercenaries. So that you do not have to shoot back and waste cartridges on niello, we climb into the ventilation, the entrance to which can be found in several offices.

Making our way through the ventilation, and then hiding behind shelters, we get to the lower level. If you intend to deal with the mercenaries, then the machine gun and the Typhoon system can be especially useful here — opponents like to crowd together. nine0003

You will soon reach an elevator that will take you down to the lower floor, the main studio. This place is just teeming with mercenaries who are actively searching. You need to get to the other side of the studio where there is a staircase leading to the funicular elevator.

At the entrance you can see a door locked to the second level of protection, behind the door is a control room with stairs to the second level of the floor where there are fewer guards.

nine0002

No matter how you decide to go through the studio behind it, you will find yourself in a corridor with two guards, and behind them a room with a funicular (there are also 2 guards and a turret). Having dealt with the guards here and activating the elevator, Pritchard will warn you that fresh forces of mercenaries will soon be pulled into this room.

You will have some time to set up booby traps, hack the turret if you can, or just hide until the elevator is up. Climbing into the elevator and pressing the release button, you can enjoy the view as you descend to the Illuminati headquarters. nine0003

After descending, you will find yourself at the entrance to a long corridor guarded by two mercenaries and equipped with a laser security system. The terminal that controls the lasers can be easily hacked — you need the first level in hacking, and then deal with the remaining guards. You can also use the augment to destroy the wall to get into the ventilation, which will lead you to the other side of the corridor. There will be another guard patrolling the stairs and another in the office. Decide how to bypass them. nine0003

Going further through the complex you will have to hide from the cameras and again build from Alice making her way through the rabbit hole. Soon you will find yourself at the entrance to a fairly large room with several guards inside. Invisibility can be especially useful here to bypass security in delicate situations.

No matter how you pass this level, soon you will find yourself in an area with a lot of rooms and only a couple of guards patrolling the corridors — do not miss the moment to profit from the ammunition that will be needed behind the door indicated by the marker. nine0003

Having loaded Jensen with useful and not very rubbish, we pass into a room with a giant computer. First, there will be a small cut-scene, and then a battle with another mini-boss, Elena Fedorova.

How to deal with her? First, about how Elena attacks. This madam is packed to the fullest — invisibility, two submachine guns, fast running and something similar to the Typhoon system. Secondly, the easiest way, as it seemed to me, is to fight Elena while in the very center of the hall. When you see her running at you to use her Chinese Typhoon, move to the side and fire at the girl while she moves away from the blow. If you see that you don’t have time to run out of the mercenary’s path, you can use Q to try to strike — she will beat him off, but Typhoon will not activate. nine0003

If you yourself have a Typhoon system, be prepared to activate it at the first opportunity — just a couple of activations and the mini-boss will be finished. If you are not in the center of the hall, make sure that Elena does not run into the generators located at the walls of the hall, if she activates her Typhoon next to them, the entire floor will be electrified.

— — — — — — — — — — — — — — — — — — — — — — — — — —

Passage :

Deus Ex: Human Revolution — Mission 1. Sarif Headquarters.
Walkthrough Deus Ex: Human Revolution — Mission 2
Walkthrough Deus Ex: Human Revolution — Detroit 1
Walkthrough Deus Ex: Human Revolution — Detroit 1 Part 2
Walkthrough Deus Ex: Human Revolution — Highland Park
Deus Ex: Human Revolution Walkthrough — Shanghai 1
Walkthrough Deus Ex: Human Revolution — Tai Yong Medical 1

nine0059 Walkthrough Deus Ex: Human Revolution — Montreal

Walkthrough Deus Ex: Human Revolution — Detroit 2

Guides :

Deus Ex: Human Revolution Augmentation Builds Part 1
Augmentation builds for Deus Ex: Human Revolution — part 2
Deus Ex: Human Revolution bugs and crashes — solution
Deus Ex: Human Revolution Guide — Experience Points and Leveling

nine0059 Deus Ex: Human Revolution Guide — The Art of Hacking

Live-action movie Deus Ex: Human Revolution

This video is made in a completely different emotional way than previous commercials advertising artificial implants manufactured by Sarif Industries. According to Eidos Montreal, the future is not very bright.

nine0002 Square Enix and Eidos Montreal have released a new three-minute live-action video for Deus Ex: Human Revolution.

This commercial has a completely different emotional tone than previous commercials promoting artificial implants manufactured by Sarif Industries. According to Eidos Montreal, the future is not very bright.

Deus Ex: Human Revolution is expected to release on August 23, 2011.

nine0119 2011-07-21 12:47:00

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