Each of those playthroughs took around 10 hours to complete, and during that time Detroit’s pace rarely lags thanks to the deft juggling act it performs, alternating between three android characters across multiple chapters: Kara, a housekeeper who must care for a little girl named Alice, Connor; a prototype police model whose assignment is to round up ‘deviant’ androids, and Markus; a carer model who believes androids should share equal rights with humans.
The trio of performances is excellent. Bryan Dechart is delightful as Connor thanks to his deadpan innocence, which makes for a great foil against the whirling dervish of his cynical partner, Clancy Brown’s Lieutenant Hank Anderson. Valorie Curry brings quiet strength to Kara, and excels at selling her love for her ward, Alice, who is quite possibly the least charismatic video game child to have ever existed. Jesse Williams employs all of his dreamy Grey’s Anatomy warmth as Markus and is never unlikeable, no matter how you choose to play him.
Based on your choices, you can change their personalities and the tone of their individual stories. In my first playthrough, for example, the relationship between a humble Connor and the android-hating Anderson played out like a knockabout buddy comedy. In my second, I let Connor’s ambitions take over, and his story was of a different genre.
Though Markus appears to fundamentally remain endearing no matter what you do (unlike Connor, who really can be played as a hero or villain), there’s a tug-of-war going on within him that throws up some of Detroit's most interesting moral quandaries. Kara’s story seems less tonally flexible but is the quietest and most intimate, which provides a welcome contrast to all the running and explosions you can opt into in the other two stories.
- Play more Jelly Doods
- Hot new 60 Second Burger Run
For the most part, supporting characters adapt to the way you choose to play, but there are occasional misfires. When I played as ‘nice’ Connor, for example, Anderson was far too aggressive toward him to be believable. When I played as ‘mean,’ or even ‘indifferent’ Connor, his fury made a lot more sense. At one point, Markus gained a lover very abruptly, and I felt I’d missed a slow burn somewhere. It’s noticeable when your choices feel they’re going against the grain of a more robust story.
I found all three of Detroit’s central characters to be dramatically interesting, which meant putting them in compromising situations – or worse, killing them – was a real fear throughout. It’s testament to the writing and performances that I found making decisions “just to see what would happen” teeth-clenchingly hard.
I'm a Real Boy
The backbone of Detroit’s story – meaning the one that’s relatively fixed in place despite the choices you make around it – is big, ambitious fun that takes Phillip K. Dick's question of whether androids dream of electric sheep to the nth degree. In doing so, however, it does suffer from a multitude of plot holes. Marcus appears to gain magical android powers when it suits him; Hank is impressed when Connor solves the most basic of mysteries; and one twist makes absolutely no sense if you look back on that particular storyline after having finished.
These were noticeable (and often pretty funny), but they weren’t deal-breakers for me. Detroit is audacious and silly as hell, but it’s got real heart to it. There were enough moments of quiet tenderness to keep me emotionally invested, and the stakes were suitably high - particularly in its final act - to keep me thrilled.
With this in mind, there is a lot of clumsy exposition and dialogue I was willing to forgive, as one would while watching a fun B-movie. But occasionally, Detroit ignores the standard writing rule of “show, don’t tell” to such an extent I was yanked out of the story. Bad guys spout monologues that spell out Detroit’s themes in capital letters. (There’s a compartment for androids on public transport, in case you didn’t get what Detroit was going for here.) Select side characters, like Hank’s harrowed police chief and the inexplicably wise and mystical Lucy - are loudly cliched, so we understand what their roles are without any real character development.
With the remarkable performance-capture technology – and performances – Quantic Dream has at its disposal, there’s no real reason for such heavy-handedness. Nor do I think Detroit is incapable of subtlety; some of the scenarios here are unusual and profound. But I wish its ideas had more room to breathe before being trampled by someone spelling out the meaning for us.
Characters are certainly capable of non-verbal expressiveness. The level of detail you can see in their faces is astounding; facial hair, blemishes, freckles, and moles are rendered in stunning detail, particularly in checkerboard 4K on the PS4 Pro. The animation is just as good; as Kara and Alice hurry through the rain on a freezing night, hunched over and miserable, I could have been watching two humans from the side-streets.
The world here feels very real, too, built with a sense of history. This is a miserable, dark version of a future Detroit where androids are so omnipresent that they’re old news, sold in chain stores for the price of a discount mobile phone. Little details from the sidelines tell the story of a burst tech bubble, like basements filled to the brim with discarded models or a street performer advertising the fact he is playing “human music.”
Though the path you are guided through in Detroit’s world is as linear as previous Quantic games, I felt like there was more time to enjoy these beautifully detailed environments. One of my favourite sequences involved chasing graffiti tags to find a particular location, which ended up being an eerie, silent excursion in a forgotten corner of the city. There’s also a marvelous scene in an abandoned amusement park which still creaked with enough life that I got a sense of what it might have been, once upon a time.
The way you interact with Detroit’s environments hasn’t evolved much from Quantic Dream’s usual formula, which is unobtrusive and mostly works. Action sequences are generally executed using timed button presses, swoops of the thumbstick, and occasional motion control, which evoke the action you are performing on a case-by-case basis. An android detective mode allows you to scan your environment to reconstruct crime scenes, and fast-forwarding and rewinding through these is a lot of fun, as is a new ability to ‘pre-construct’ scenarios before you execute them. I would have liked the opportunity to play around with the latter ability more than I was allowed to, in fact.
Like Beyond: Two Souls before it, though, Detroit: Become Human struggles to justify its multiple fight scenes with meaningful interactivity. Clicking on buttons at just the right time while struggling with an angry android encourages a welcome sense of participation in the fight, but you have to screw it up disastrously to fail. I understand that making combat a proper challenge runs the risk of introducing an immersion-breaking sense of trial and error, but I was left wishing the stakes were just a little higher after I ‘won’ each fight without really trying. Why make them interactive at all if the input feels so meaningless?
Of course, the way you play Detroit is primarily through the choices you make within it. While there’s that backbone of a story that can’t be shattered, which can occasionally result in frustration when it makes a decision for you to keep you from straying too far off the beaten path, I found its branching paths to be multiple and deep. Quantic Dream has been smart in making this multitude of paths transparent through flowcharts introduced at the end of each chapter, showing you just how differently it could have played out if you’d made another choice, enticing you to play through again.
Not every alternate choice leads to a drastically different story, but some will. Sometimes it might lead to the same result, but by a surprising new means. Sometimes it might change your relationship with another character and unlock a path that wasn’t there before. Sometimes it might result in death, whether that be of a supporting character or one of the central trio (they can all die at points throughout Detroit), or a dramatic action sequence with unexpected consequences. Comparing endings, not only between my first and second playthroughs but with other players, was astounding, particularly when I assumed everybody’s story had wrapped the same way as mine and found that nobody’s had.
For me, this is the biggest draw of Detroit. One playthrough really isn’t enough to see what it has to offer, and characters and world-building are interesting enough that it was a pleasure to go back to see what I’d missed in scenarios that are deceptively complex.
The Verdict
Detroit: Become Human is a poignantly pulpy interactive sci-fi drama where your choices can impact events to a greater and more satisfying degree than in most games of this type. Though I wish its story had been handled with a softer touch, especially considering the subtlety that can be conveyed through its tech and performances, its well-written and acted central trio were vital enough to me that I found myself feeling genuine distress when they were in danger and a sense of victory when they triumphed. Most importantly, Detroit offers a multitude of transparent branching paths that entice further playthroughs, and choices have a permanence that raise the stakes throughout.
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