When it does finally get going, some shoddy voice work and awful facial animations make for a game that fails to convey the societal and racial messages that its strong writing attempts to.Īfter a pre-credits mission in Dubai sets up the game’s central conspiracy, you relocate to Prague. Mankind Divided is undeniably beautiful, soaked in the neon golds and vibrant lights that made its predecessor such a striking spectacle, but its weak opening results in a slow start that never quite gains the momentum it needs.

It was a global catalyst, accelerating the divisions between the human and augmented populations, but as thematically charged a setup as this is, Adam and his world can’t help but feel outdated. Like many, he’s coming to terms with the devastating aftereffects of The Incident – a cyber-attack that deliberately caused the bio-technologically “augmented” population to turn violent against their will, leaving millions dead. Protagonist Adam Jensen returns – still half-Lagerfeld, half-Motorola Razr – working as a special agent at Interpol two years after the events of Human Revolution. This is a tall order and its makers clearly recognise it, front-ending the game’s campaign with an almost laughably long 12-minute recap to bring you up to speed on everything Deus Ex.

After releasing 2011’s Human Revolution – a lavishly depicted near-future thriller – to widespread critical acclaim, developer Eidos Montreal’s follow up, Mankind Divided, picks up the exact same threads that its predecessor left tantalisingly unanswered five years ago. S ince its debut 16 years ago, Deus Ex’s primary weapon has been choice: where to go, how to get there, who to speak to and how to speak to them are all up to you in a series where almost every scenario has multiple outcomes.

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