I’m in a bank vault, adult to my waist in water. This is still, technically, a ‘ghost’ run. No alarms have been sounded. But a hole in a roof above suggests a opposite story—one of planning, amiable carnage, and ‘oh, what happens if we do this?’ Death of a Outsider’s third idea is a standout heist that shows Dishonored’s semi-directed pattern during a best. It’s not indispensably my favourite thing about this standalone expansion—we’ll get to that—but a unenlightened network of possibilities and routes is as good as anything found in Dishonored 2.
Breaking into Karnaca’s many secure bank is usually another step in protagonist Billie Lurk’s devise to kill a Outsider. Lurk, carrying expel off her insincere temperament as a captain of a Dreadful Wale, reunites with her former coach and frenemy Daud. The aging murderer enlists Billie’s assistance for one final job: bumping off a black-eyed emo god-being during a heart of a Void. As in Dishonored’s DLCs, The Knife of Dunwall and Brigmore Witches, Death of a Outsider isn’t about Corvo or Emily, (at slightest over a fact that, to Daud’s mind, they too were pawns in a Outsider’s game). But it is vicious to a universe during large. This is an epilogue.
The inlet of Billie’s task, and a inlet of Billie herself, means that Death of a Outsider diverges from a customary template of a Dishonored campaign. To be clear, many here is familiar—it’s an enlargement after all. But Billie’s highway to a ultimate assassination doesn’t engage a strike list of abounding jerks. It can—you’re giveaway to kill flattering many everybody we meet, with no Chaos complement to retaliate we for it. But for a many part, your targets are information and items.
Billie’s powers are different, too, in that they aren’t postulated by one of a Outsider’s offers. Rather, they’re drawn directly from a Void. In unsentimental terms, it means they recharge over time, with no need to scour for vials of enchanting blue juice. Your operation of powers are some-more singular than in prior games, yet engaging nonetheless. Displace is a Blink variant, with a important disproportion that we can place a pen and then—as prolonged as we have line of sight—choose when to teleport to it.
This has a array of uses, not slightest as an easy process of shun if a quarrel goes bad. For instance, it combos with Foresight, that lets Billie stop time and indicate a circuitously area. While looking around with Foresight, we can place a Displace marker, potentially vouchsafing we teleport by grates and fences. But these specific instances aside, Displace is many frequently used to pierce between high ledges and strech other tough to entrance areas. I’m indeed a tiny underwhelmed by how it feels. It’s a tiny thing, yet a additional rodent click compulsory to accurately diverge to a place creates abnormal transformation feel reduction poignant and satisfying.
Billie’s best energy is Semblance, that lets we take a face of an comatose NPC. It’s useful since Billie is a wanted woman, and guards will conflict on sight—even out on a street. Walking quietly by a yard full of guards is a opposite kind of empowerment to that charity by Dishonored’s typically some-more proceed and ruthless abilities. Semblance enables some specific interactions, too, like an auction we can usually attend in if you’re wearing a face of a civilian. It’s not perfect, however—there are so many characters that fundamentally some permutations aren’t accounted for. At one point, we used Semblance on a emporium owners who had a serf sealed adult in her basement—just to see what would happen. Unfortunately, nothing. The serf reacted as if we was Billie.
Crucially, these powers aren’t proceed attacks (not unless we Displace into an enemy, heading to their gruesomely disorderly demise). Instead, Billie is some-more reliant on her tools—including a interesting new offshoot mines, that can squeeze enemies and hurl them into walls, floors or even other people. To change this, there are no runes to collect. Your powers work usually as good during a start of a diversion as during a end. Instead, your income is spent on new bone attracts and rigging upgrades, both of that capacitate some absolute playstyles. In a longer game, a reduced toolset competence feel stale. But, opposite a 10 hours Death of a Outsider took me to complete, we never felt brief of options.
These new powers, collection and tiny tweaks lay good in environments that are some-more directly allied to Dishonored 2. Once again, you’ll be exploring densely packaged areas, full of detail, side stories, and income to pilfer. New for Death of a Outsider is a contracts system, that lets we collect adult discretionary objectives from a black market. Some will take we to areas off a vicious path. Others will plea we to play in a specific way—make it by an area yet alerting a soul, or murder all yet one specific person. It’s a fun additional that creates a many of Arkane’s turn design.
Some will no doubt frustrate during how dual of this expansion’s 5 missions take place in a same district. Personally, though, we welcomed a event to lapse to a stage of a crime. Upper Cyria, a area in question, feels vast and full of things to do on your initial visit. While my lapse was distant shorter carrying schooled a layout, it was delightful to see, for instance, how a black marketplace responded to my progressing mangle in. Also, a second revisit ends in that bank heist, so it’s tough to feel tough finished by.
A thesis using via Death of a Outsider is of lapse and reevaluation. My favourite thing wasn’t a idea or an particular territory yet a possibility to see a universe conflict to a events of Dishonored 2, and from a new perspective. It frequently shines new light on characters from via a series. Billie, obviously, and a Outsider, of course. But also a groups that you, as several protagonists, have formerly encountered. The initial few missions offer hints that a witches—powerful, late diversion enemies in Dishonored 2—are now unfortunate and vulnerable, scrabbling to recover a throw of a energy they once held.
Later on, Billie visits a Royal Conservatory. Once a magician stronghold, it’s now hold by a Abbey of a Everyman. The Abbey has always been repugnant to any Dishonored character’s Outsider-blessed adventures, yet here, in a groundwork where a remaining witches are hold captive, their malice is brought into focus. The mixed of their vulgar cruelty, Billie’s personal tie to a witches, and Death of a Outisder’s decrease of a Chaos complement culminated in bloodshed, as we deserted a non-lethal proceed that had persisted over dual games. It was a joining of story and systems to emanate a suggestive and pardonable switch in a approach we was playing.
Death of a Outsider’s story works best when it’s toying with a probity of a factions and characters, and charity a opposite context for their actions. That strikes during a heart of a executive objective: murdering a Outsider. Daud’s mania with his genocide comes from a place of righteousness—of vituperation opposite his acceptance of what he now views as a Faustian pact. But Death of a Outsider also hurdles that assumption. There are no heroes here, and everyone’s reasons—even if they’re evidently selfless—are put underneath a spotlight. Even a rats are recontextualised. Once a source of Dishonored’s plague, now they seem as a mysterious fan who Billie can deliberate for recommendation and, some-more frequently, musings about satirical and chewing.
Nonetheless, there’s a lot to container in. By focusing on Daud and Billie’s personal goals, a ultimate law of a Eyeless—the cult that Billie goes adult opposite in her hunt for a Outsider—feels rushed. The final revelations are congested into a proportions of a final mission. There’s a lot to empty here, and it formula in a unenlightened smoothness of mysterious clues that feel improved matched for mixed missions—especially when pivotal lines of discourse are in risk of being missed, or wiped out by an erring gummy grenade. While I’m griping, that final idea also introduces a new rivalry type—an irritatingly tough new rivalry that doesn’t follow a ubiquitous manners of murdering a Dishonored enemy, while also being some-more mobile and some-more countless than a Clockwork Soldiers.
Such tiny grievances supplement up, and do take some of a gleam off an differently achieved cut of freeform secrecy action. When Death of a Outsider is during a best, though, it’s a estimable accompaniment to a array during large. It’s full of beguiling new encounters and scenarios, offers new perspectives on characters and events, and, by a brazen executive goal, caps off a existent Dishonored storyline in style.
Disclaimer: One of a writers for Death of a Outsider, Hazel Monforton, is a writer to PC Gamer.