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Surely someone at Square Enix must be glancing between the wild sales figures of Cyberpunk 2077 and Adam Jensen's mirror-shades, and wondering whether it's time to bring back one of the most beloved series in PC gaming.Both options are valid strategies in Mankind Divided, and youвЂ™ll find yourself trading off between them as discretion is often the better part of valor. Since the release of Mankind Divided, developers Eidos Montreal has been working on Marvel's The Avengers, which also failed to meet sales expectations, struggling to recoup its own development costs.

Adam Jensen's voice actor Elias Toufexis recently stated he has ' No idea' about when or if a new Deus Ex might be released, which doesn't bode well. The question is whether both Eidos and Square Enix feel the same way.

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Eidos Montreal already knows how to make it, while Mankind Divided showed they can both push the technical limits and build a more cogent open world. This would be fine if the systems were fun to engage with, But frequently they aren't, and so Cyberpunk's wider world quickly blurs into repetition.Д«ecause of all this, I think a Deus Ex sequel within the new few years would be a huge success. Side gigs tend to be more open-ended, but they all take place in similar, prefab-y looking buildings with throwaway stories. But they're also reluctant to let go of the reins, often feeling more like an excerpt from the latest Call of Duty than an RPG. The actual heist mission at the end of the first act and the Parade mission at the close of the second are both superbly realised. Sometimes Cyberpunk does this too, and it's little surprise these are the game's best moments. Mankind Divided's raid on Palisade Bank is one of the single best moments across the entire series. Each of JC Denton's objectives is framed as 'Here's an impossible task, go do it.' The more recent games carry this notion through. Every mission in Deus Ex is basically a high-concept heist mission, from the tutorial opening on Liberty Island, right through to you infiltrating Area 51. This might seem ridiculous given what the world looks like, but I'm not talking about that kind of spectacle, but rather its approach to level and mission design. This sense of occasion is another thing that Cyberpunk sometimes struggles with.

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Almost every upgrade is either cool, useful, or both, making every new augmentation canister or Praxis point feel like an important discovery. The Square Enix prequels, meanwhile, let you punch through walls, cloak to hide from enemies, and launch an explosion of ball-bearings from Jensen's body. The original game's ideas might not seem novel now, but twenty years ago, being able to see enemies through walls, lift three times your own bodyweight, or run completely silently was revolutionary. 'Being able to see enemies through walls, lift three times your own bodyweight, or run completely silently was revolutionary.'Дeus Ex's augmentations, on the other hand, are all about making key choices that drastically alter your character's capabilities. Adam Jensen's arm chisels are way more fun to use, and they're limited to a sequence of canned animations. Although they look cool, in practice they hardly alter the base melee combat at all. Particularly disappointing are the Mantis Blades, which were the first of Cyberpunk's feature CD Projekt ever revealed. The cyberware upgrades are similarly underwhelming. In the stealth tree, the most exciting upgrade is the ability to throw a knife. The perks look impressive when they're all laid out in front of you, but nearly all the upgrades are limited to incremental percentage gains on abstracted stats like accuracy and damage. Cyberpunk 2077, in comparison, is far more systems driven, so its mechanical shortcomings are much more apparent.

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