Kane & Lynch 2: Dog Days - Gameplay Xbox 360 (2010)
8Kane & Lynch 2: Dog Days - Gameplay Xbox 360 (2010)
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Kane & Lynch 2: Dog Days is a 2010 third-person shooter video game developed by IO Interactive, published by Square Enix's European branch for Microsoft Windows, PlayStation 3 and Xbox 360.It is the sequel to Kane & Lynch: Dead Men. The game follows criminals Adam "Kane" Marcus (Brian Bloom) and James Seth Lynch (Jarion Monroe), who reunite in the city of Shanghai, China for an arms deal, having agreed to split the money for their retirement. However, when things go wrong, the two quickly find themselves fighting to survive and escape when they become targets of the entire Shanghai underworld.
Announced in November 2009, the game was described as having a new visual style inspired by documentary films, user-generated content, the visual quality of camcorder footage, with its in-game camerawork being generally inspired by hand-held cinematography. The game also employs unprofessional editing and jarring or out of place jump-cuts and/or fast cutting, to make its cutscenes look more unprofessional. The camera sometimes falls, when the player dies, and during certain cutscenes. According to the press release, every aspect of the game has been designed to deliver a fresh perspective to the words 'intensity' and 'realism'. The game also intentionally censors some of its extreme violence and nudity through pixelization. A pair of teaser videos accompanying the announcement present computer-generated animation from a distorted surveillance camera perspective. Following this, an additional batch of videos with the same style were made. Other marketing materials ranged from gameplay showcases to other computer-generated trailers that focused on the game's visual aesthetics.Dog Days was presented from Lynch's point of view.
The game features an experimental and industrial dark ambient musical score, described by its composer and sound designer, Mona Mur, and art director Rasmus Poulsen, as "industrial-horror" and mixes it with diegetic C-pop music, made originally for the game, although only plays on its environments and levels, and the main menu. Game director Karsten Lund instructed Mur to approach the music in this method so that players would identify it as a game with a strong mood and oppressive atmosphere rather than a game with music, and partly so that the music could create an atmosphere of discomfort.Mona Mur also noted influences from films like Blade Runner, Eraserhead, Ghost in the Shell, the works of Kenji Kawai and the video-game Manhunt.
Dog Days uses its music and visual aesthetics to reflect upon the violence depicted in the game, as well as the psychology of its characters. It uses survival horror and psychological horror techniques to inflict the same psychological effects of the characters on its players. The team wanted to create a postmodernist commentary on common place violence in video-games, leading to the game's unconventional approach to portraying realistic consequences to realistic violence, leading the team to seek an uncomfortable, tiresome and oppressive atmosphere, with a focus on themes of violence, urban isolation and loneliness.During development, the game suffered from some push back as a result of the team's experimental approach, which was considered risky, but it was maintained through to release.
The game received a mixed reception from critics, criticizing its over-use of shaky cam on its visual style (which caused discomfort and nausea on some critics and players), controls, gunplay, excessive violence, glitches, game length and level design, with some critics describing it as "unpleasant" due to the shaky-cam and violence, but praised its voice-acting, music, intensity, general visual aesthetics and graphics, and with some critics praising its unconventional approaches to the genre. A single-player and multiplayer demo were released for the PlayStation Network on July 21, 2010 and for the Xbox Live Marketplace on July 26, 2010. A demo was released for Steam on July 27, 2010.
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