Robocop: Rogue City’s fighting seems like it’s straight-up murder. I completely lost it when I hit someone for the first time, and Robocop’s fist blasted out with the power of a particle accelerator, instantly atomizing their head. I went completely insane. After taking up a skip and shoving four men into a corner with it, as if it were a malicious hydraulic press equipped with Oakleys and Punisher skull stickers, I needed to take a break a few minutes later. I had to take a breather. Robocop: Rogue City is an enormous delight when it comes to removing masses of rubbish from the streets of Detroit; nevertheless, the film’s pace is very inconsistent, and the narrative is so compelling that it puts it in the same category as the film’s sequels, which are terrible.
Rogue City exudes an incredible feeling of physicality across the whole city. You have the ability to grab foes by the neck and throw them into walls with such force that bits of debris will fall down on their shattered bodies. Reams of paper are dispersed by bullets, and the trash around them is transformed into cyclones of plastic and metal shrapnel. When Robocop grabs anything with his enormous metal hands, the object maintains its physics.
This means that the computer monitor you are going to throw at the skull of a man will either collide with a wall or get stuck in a door frame, similar to how Garry’s Mod works. There are a plethora of explosives that react in a variety of delightfully diverse ways, and they are scattered across the environment. When you toss a propane canister at someone, it will first hit them in the head, then it will rocket throughout the area, and finally it will explode around them. Landmines may be picked up by Robocop and then thrown like frisbees at each other.
It was a modular burst-fire SMG that simply vomits a tremendous torrent of tiny calibre shots with precise precision, and I just loved the way that Robocop’s auto-9 machine gun handled. The idea of dominating someone with a full burst and witnessing their body ragdoll backwards in slow motion is one that I could very well pursue for a whole campaign. Although there are other weapons available, I am not sure why you would ever want to make use of them. The limited arsenal of automatic weapons and shotguns from the time of the Cold War is, at best, situational and, at worst, superfluous. In order to be successful, one must first make a considerable investment in the “combat” skill tree that corresponds to the weapon.
It is true that Rogue City includes a talent tree system, but it is much too involved and complicated. It is my recommendation that you acquire the first tier of each skill as soon as possible, since these abilities are the juice that prevents the battle in Rogue City from becoming monotonous. One of my favourite features is a forward charge, in which Robocop plants his feet and rushes forward like a goods train with flat feet, crashing over everyone in his path. Other features include bullet time, which is reminiscent of Max Payne, flashbangs that are placed in your eyes, and a forward charge.
This is made much more enjoyable by a dismemberment algorithm that seems to prioritise the most hilarious results imaginable, such as adversaries holding their disfigured stumps and yelling out “My hand!” In addition, there is ragdoll magnetism, which means that if you shoot a jobber who is standing on a cliff, he will fall over, flailing his arms and legs. Robocop’s near-invincibility against small weapons and sub-glacial movement speed result in combat that is similar to that of MechWarrior, but with fleshier targets. As a consequence, a DPS must race to flatline scumbags before they can turn Robocop into scrap metal.
When Rogue City introduces enemies that do not explode with gore, everything begins to fall apart. From the beginning, there is a god-awful boss fight against a malfunctioning ED-209, and because you are both two giant, slow-moving tin cans packing nearly identical heat, the fight boils down to Robocop awkwardly climbing around the arena while taking cover behind pillars that are too small. There are some mass-produced combat androids that you will end up fighting later on. Although they are not anywhere close to being as horrible as the encounter with ED-209, they lack the individuality (and amusing death screams) of the street gangs that are prevalent in Detroit.
When you are not on a mission, you go back to the precinct to do normal psychiatric evaluations, assist other cops in shuffling files, and just generally wander about, soaking in the sights from the movie. During missions, you will get updates from headquarters regarding crimes that have been committed, and unfortunately, these updates are quite tedious and waste a lot of time. In the beginning of the movie, you end up going to the abandoned industrial park that was the setting for the conclusion of the original movie. This location is way too wide, flat, and monotonous to be exciting for more than fifteen minutes.
Robocop is required to go through waste piles and pools of unclean water that are knee-high in order to complete the side tasks. These watery ponds hide landmines that destroy HP. You will often make deposits using stolen wallets and bogus IDs, which will result in you receiving some additional experience points at the final ranking screen. This is a difficult task, and the return is seldom worth it either.
Fans of the movies, which should include every living human being, will find that a significant portion of Verhoeven’s sarcastic tone has been carried over, despite the fact that the tale is chaotic and does not do anything to complement the flicks. The adversary of Rogue City is the brother of one of Clarence’s gang members from the previous film, and he is attempting to fill the power vacuum that was left by Clarence and Cain. I was taken aback by the fact that Rogue City was ready to throw the vivacious and hot-headed Anne Lewis into a coma at the beginning of the game and replace her with Ulysses Washington, a new kid on the block officer upstart who is so terrible that he is being tormented in a cruel manner each time you return to the precinct.
Ironically, Robocop himself, whose voice is provided by Peter Weller, who is also back for more, is the most human figure. At the beginning of Rogue City, Robocop is seen to be suffering from a post-traumatic stress disorder (PTSD) episode after a hostage situation. As a result, he is left chipped like a dog and must pass through a series of mechanical and psychological tests while being severely dressed down. The ludicrous, bombastic power fantasy activity is in sharp contrast to the absolutely emasculating feeling of being tied down and shouted at by your dumb employer.
There is a distinct difference between the two. Interspersed throughout are conversation choices that provide you with the opportunity to investigate the differences between Robocop and Alex Murphy. These differences may be represented via either a rigid legalist, by-the-books approach to policing or by demonstrating empathy and forgiveness. In spite of the fact that these decisions in conversation are supposed to have repercussions, they almost never materialise until the very end of video games.
Robocop: Rogue City is running well from a technical standpoint, with approximately sixty frames per second (fps) on high settings on my mid-grade PC. It is not a pretty game, but when the bullets start flying and the corpses start stacking up by the dozen, Rogue City holds its own, seldom falling below 45 frames per second. The animations of the characters range from “fine” to “bad” (a special mention goes out to the guy who was playing swing jazz drums at the hardcore show; I would kill to know where the developer Teyon got that animation from), and the environments, while not particularly noteworthy, faithfully capture the grime and glossy plastic look of the original film.
The ultimate conclusion is that Rogue City does not transcend its reputation as a B-game in the same manner that Robocop overcame its roots as a B-movie. The delight of squandering gangsters and goons is often cut short, halted, or delayed by monotonous police busywork that seldom plays to the game’s surprise strength—character writing. This is a problem since character writing is one of the game’s weaknesses. The only people I would suggest Robocop: Rogue City to are those who are really dedicated to the franchise; everyone else should read the Frank Miller comic that Rogue City is based on.