![]() If Hakon is dead and Aiden decides to save Villedor, Lawan is killed in the manual explosion detonation of her explosives she planted on the missiles while Aiden carrying a dying Mia barely escapes alive.Depending on player choices, such as whether Frank is still alive, Lawan may leave Villedor with Aiden in the ending cinematic cutscene. If Hakon is alive and Aiden decides to save Mia, he will rescue her at the last second, thus both her and the City will be saved, with Aiden carrying a dying Mia barely escaping alive.Aiden is given the choice of saving her or Villedor when she proposes blowing up the missiles to save Villedor and destroy X13. ![]() Regardless of player choice, Lawan will be at the X13 Facility in the game's final campaign quest. Lawan quickly becomes a valuable ally, and Aiden interacts with her in several main quests, either in person or through radio. The pair later meet again at the Car Plant during Lets Waltz!, where she will save Aiden and the two are formally introduced. Īiden has the chance to meet Lawan in the Sniper's Alley side quest, while she is hunting for Hakon. She is an ally of Aiden Caldwell but will stop at nothing to mark the names off her hit list. The layout of each new neighborhood provides opportunities to flex Aiden’s expanding set of moves, too, as the opening hours’ two- or three-story apartment buildings and shops eventually transition to towering office and condo buildings best traversed with death-defying leaps or grappling hook-aided swings.Lawan is major character in the City on a quest for revenge. For instance, windmills that supply power to city districts are spread across Villedor, each one functioning as a test of the player’s reflexes and ability to spot ways to climb ever higher. Just as important, the city is beautifully designed, without much of the repeatable, modular design used to bulk out many open-world games and is filled instead with bespoke spaces that each provides its own self-enclosed acrobatic challenges, during and between missions. The game’s movement controls are simple enough to learn quickly, allowing for creative, nearly instinctive decision-making about ad hoc paths to take across the heights of skyscraper roofs, the shutters of houses and the power lines crisscrossing between buildings. ![]() (Case in point, Aiden embodies aspects of both factions’ philosophies in his mission he demonstrates that the Peacekeeper’s military discipline, which is necessary to successfully clear buildings of zombies, can coexist with the Bazaar’s espousal of personal freedoms, such as, say, taking breaks from work to try to find your long-lost sister or help strangers with their problems.)įortunately, between dialogue-heavy scenes, the plot falls away far enough to make more room for what “Stay Human” is actually good at: creating a massive urban jungle gym for players to swing, climb, paraglide and sprint across. Throughout all of this, “Stay Human” luxuriates in the bleakness of its setting and its inability to imagine any compromise between world views that aren’t, as the game shows in glimpses, entirely opposed. The eternal goal of “finding Aiden’s sister” is a moldy breadcrumb trail that twists from one sidetracking side plot to another before remembering to take precedence again at the game’s climax. It settles into an overly familiar shape formed by the exploration of long-forgotten secret labs, errand-running between factions and predictable interpersonal betrayals. The potential of this story evaporates as it moves along, though. Instead of allowing players to take in the scene before them and allowing a sense of place to develop, they’re encouraged to assess locations with the robotic outlook of a Roomba, combing every new room for glowing items. The dialogue is dreadful, stiffly voiced and peppered with awkwardly placed curses, and the cramped setting provides few opportunities to showcase the excellent parkour movement mechanics of “Stay Human.” To properly pick clean an environment, you have to trigger Aiden’s “survivor sense” by pressing down on the right thumbstick, which drenches the screen in halogen-bright waves to mark locations of useful loot. Aiden and a colleague scavenge through an empty house, skeletons draped like decorative throws on couches next to dusty artifacts from the days before everything went wrong. “Stay Human” opens by stumbling through a long scene of characters in apocalyptic rags dreaming of the day they can retire from their work as wasteland couriers. These issues are clear from the beginning.
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