Dishonored, the new property published by Bethesda (The Elder Scrolls; Fallout) and developed by Arkane Studios (Dark Mesiah; Bioshock 2), is a brave and original story looking to enter into a decaying console cycle – the time when the sequel and spinoff reign supreme. It has to be said, the sights are firm and the course is true; Dishonored is looking to contend for Game of the Year status – and so it should. Arkane Studios has talent from across the globe, and a laundry list of prior experience. From Bioshock to Half-Life 2 to Deus Ex, and many more, Arkane’s capability holds great repute.
Dishonored sets off to be the spiritual successor to the very franchises that inspired it and you would be hard-pressed to find a reason why it does not fit the bill. At its core, Dishonored is a first-person stealth action game. You are able to sneak around quietly, hit confrontation head-on, or some other combination of the two. The level of freedom here is something that would make any long-time Deus Ex fan smile. It’s not just about the gameplay, though – the level of presentation on display is top notch.
Before getting into the review-proper, I want to touch on the design and visual presentation; its uniqueness begs prying eyes to observe. Dunwall, the city setting in Dishonored, is designed by the very same man who imagined City 17 in Half-Life 2. Visually, I get the sensation that Arkane started with something relatively gritty, and then moved the entire art-style in the direction of pastel and caricature. It’s just utterly dripping with style and brave design choices. The character design in particular is especially reminiscent of old political cartoon artwork, with all the exaggerated features necessary to convey a character without words.
Now, it’s not all sunshine and roses when it comes to the presentation. There are elements of the game that feel somewhat dated. While the character design is a pure joy of originality, the animations leave something to be desired. I’m never left with the sensation that these are alive, even for a moment. There’s also not much in the way of post-effects being leveraged. You have god-rays, dynamic shadows, and that’s about it. And while the artwork is incredibly balanced and fitting to itself, I found myself reaching for my video card’s anti-aliasing controls in short order just to get everything to sit better with the art style. Neither the MLAA or FXAA solutions quite cut it – the jaggies on display just detracted from the pastel effect.