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Tribute to Tonnochi Road from Deus Ex

Infinitron

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http://www.tonnochiroad.com/2015/04/the-real-tonnochi-road_16.html

The Real Tonnochi Road



‘You are an unfamiliar face on Tonnochi Road.’ What a great line. Even spoken in that painful, bordering-on-racist, fake Chinese accent you couldn’t want for a more fitting introduction to that shady clu-de-sac of secrets, power play, conspiratorial triad machinations and Maggie Chow. It was a special moment within a special game, and arguably progenitor to many a great game location since - from City 17 to Colombia, not to mention a certain excellent website. Shameless self-promotion aside Tonnochi Road (The game locale) is a place that warrants a revisit. Just what was going down on that Honk Kong street? Who was really visiting who? And why for all of JC’s globetrotting adventures was that the place that stuck in my memory after all these years. Let’s break it down.



From your very first steps you begin to notice a different set of rules to the rest of the city. A hurried triad passes a cryptic warning - there is danger here. The number of bystanders thins and an ominous luxury apartment building can be seen towering overhead, exuding an invisible influence over its neighbours. Venturing deeper it increasingly becomes apparent that despite the public façade you are not welcome here. ‘Strangers to Hong Kong should stay near the market’ threatens a visibly armed security guard as a hulking militaristic mech towers behind him.

Back in the 90’s it was still quietly revolutionary to have a peacetime space in an action game. But Deus Ex didn’t just participate in this concept, it actually deepened it by exploring the thresholds in between. As evidenced on Tonnochi Road, that first encounter was designed to evoke a very particular feeling - that you were being repelled but not expelled, threatened but not attacked. There was a frizzon here, a forbidden allure. The limits of your permit were dangerous, unclear. Of course, this was all part of a deliberate design, constructed in an effort to fuel your curiosity, tempting you to probe deeper. But surface intrigue over private/public thresholds was only the beginning.

You see, Tonnichi Road, like the larger game, had conspiracy built into the very fabric of its design. While engagement had to start on the ground floor but we sometimes forget that half a game’s worth of set up had gone into priming the player for that first encounter. By the time you had reached the infamous street, Liberty Island, Hells Kitchen, the rest of Hong Kong had already acclimatised you to an immersive typology of depth – Those buildings towering overhead were no mere set dressing because the player would already recognise them as shielded but accessible domains, holding rooms, stories, people and their secrets. How deep the layers went - an alluring unknown, how forbidden - a tantalising mystery. It was that fuzzy edge condition married with the carefully constructed intrigue that began to give Deus Ex its compelling, seemingly limitless quality as the ‘immersive’ sim.



Fast forward and you’ve found your way into Queen’s tower for a private audience with the enigmatic lady herself (Although unfortunately voiced again as another cringe worthy caricature). Maggie Chow, that snake, sells you a good story as you stare into her expensive Tibetan carpet contemplating your next move. Next thing you know she pointing you in the direction of the police station and giving you a code to break in. The maid loiters nervously at the periphery. Something’s not right.

Despite the accent it’s actually an unnerving scene. You know she’s hiding something though quite what is a little beyond your understanding by that point. It’s a key moment and set up again by earlier player experiences that play into the affect. By that point certain previous employers (I’m looking at you UNATCO) have already gotten you used to the idea that the story someone tells you, the objective you are given can easily be a lie. But this time the there is no rug to pull, the game wants you to doubt. Who’s playing who and who can you trust? It’s clear you’ve entered a snake pit but what to do next?

In the absence of a game telling you what to do a strange thing happens. You actually start to make value judgements, contemplating the characters, their motivations because once more - this time in a dimension of cause and effect - the edges of the simulation have become blurred. You could follow Maggie’s lead but it could easily be a trap… Spring the trap? Sleuthing around her apartment looking for more clues could yield something but that pesky maid seems to be following you around everywhere. Could you knock her out? Stash the body… What if Maggie finds out? Or what if there’s another angle – that back alley entrance blocked by the guard, or better yet the adjacent apartment building for a more elevated vantage point.

The options seemed limitless because the limits were unknown. It was all to do with perception. No person, organisation or game system was telling you what to do - you simply had to read the situation, listen to the different perspectives and figure it out for yourself. It was choice, but not such binary, signposted choice as we have come to know in the post Mass Effect age. Of course the variables were limited, the response scenarios pre-programmed, but it was that subtlety of design and the obfuscation of its edges that allowed Deus Ex to transcend its technical limitations. In the end it felt less set piece and more social sandbox. In other words it just felt more real.



After some sleuthing you’ve cracked the police vault (Turns out a bogus lead) and further down the line you break into that apartment across the way discovering an old haunt of Jock’s (A mildly interesting diversion). Eventually you find yourself doubling back to Maggie’s for some answers, only this time to the maid seems to have forgotten her etiquette as she slams an alarm and whips out her piece. The secret doors slide open and commandos start pouring out. A secret base - Cool! A blur of violence later and the base is awash with the pixilated innards of a small legion on MJ12 elite who shared the misfortune of coming to work that day. You stand before the fabled dragons tooth – the bad ass futuristic samurai sword they were protecting – and grab it in both hands. The cyberpunk lightsaber lights up like it’s Christmas. Catharsis!

So Tonnochi Roads thematic finale ends up being a secret base with a cool sword. I can mock it now but at the time it really did feel quite cool (Come on – it was still the 90s!). Not just for the satisfying violence, or the fulfilment of a paranoid conspiracy fantasy, but because I had finally broken through all those layers of lies to expose the truth – understanding that street and the entire power structure that made it tick. Even Maggie Chow was just a pawn in a much larger power play and that knowledge gave me satisfaction.

Because Deus Ex was not a game about following orders and being dumped on by a story, it was a game about figuring out those urban environments on your own terms, by understanding the relationships, back alleys and network exploits, of getting to the bottom of that conspiracy and feeling like you’d earned it. The final gratification worked because it lived up to the promise, cashing the check that had been written the moment you set foot on that street. And like icing on the cake the player took their own reward either in the currency of knowledge, action or just a damn cool sword.



Vandenburg and Area 51 were always fun as playgrounds to become J.C Denton the augmented super solider. But for me it was the public/private thresholds of the urban context that became the most interesting landscape to inhabit that other J.C. Denton – the pedestrian, the detective, the burglar, the spy. Tonnochi Road was just one of the urban environments of Deus Ex, and just one of the streets of Hong Kong, but I would argue it was the richest, the most alive in depth and possibility.

Why was Tonnochi Road special? Because essentially it felt like a real place. Embedded in the context of a larger city but uniquely distinct. Playing off established expectations and then blurring the edges of the simulation to create true immersion. Giving the player unqualified choice and then treating them with the respect to figure it out for themselves. It was a place that took us on a journey, a mystery waiting to be unravelled, a character with a life of its own. Oh, and did I mention the cyberpunk ninja sword?

I am and always will be the unfamiliar face on Tonnochi Road. And perhaps that’s exactly who I want to be.
 

thesoup

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Odd how no one ever mentions the "raycisum" in Desu Ex, probably because there's not much drama to stir over a game this old and everyone knows they had a low budget for voice acting, but there was a minor shitstorm over the black hobo chick in Human Revolution because she spoke like some ghetto trash. And ironically enough, it was the voice actresses own idea to make her that way, her way of adding some character to her, instead of making the NPC into a generic information kiosk, which it was supposed to be at first. And yes, the voice actress herself was black.
 

Jools

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What about Gunther then, or the various french people in Deus Ex? Are their faux accents also "bordering-on-racist"? Or have they passed unnoticed because the average SJ-inspired west-coast hipster douche fuckface doesn't realize actual Frenchmen and Germans don't talk like this?

They were probably too busy not realizing Italians don't really speak like those from AC2+spinoffs, not to mention laughing at the Dolmio commercials...
 

bloodlover

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Odd how no one ever mentions the "raycisum" in Desu Ex, probably because there's not much drama to stir over a game this old and everyone knows they had a low budget for voice acting, but there was a minor shitstorm over the black hobo chick in Human Revolution because she spoke like some ghetto trash. And ironically enough, it was the voice actresses own idea to make her that way, her way of adding some character to her, instead of making the NPC into a generic information kiosk, which it was supposed to be at first. And yes, the voice actress herself was black.

People were less sensitive in 2000 and gaming wasn't as big as now.
 

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Codex Year of the Donut Serpent in the Staglands Dead State Divinity: Original Sin Project: Eternity Torment: Tides of Numenera Wasteland 2 Shadorwun: Hong Kong Divinity: Original Sin 2 A Beautifully Desolate Campaign Pillars of Eternity 2: Deadfire Pathfinder: Kingmaker Pathfinder: Wrath I'm very into cock and ball torture I helped put crap in Monomyth
Is Deus Ex Still The Best Game Ever?
Part Four: Fratricide, Gratified And Dissatisfied


All of the Hong Kong section is such a contrast. As Graham mentioned on Sunday, James Morgan has written eloquently about why the Tonnochi Road section of the game is so extraordinary. Which leaves it to me to point out why it’s also so ordinary.

I think this speaks of so much of my re-experience with DX. A game with so much going on beneath its surface, such a depth of smart ideas, rippling possibilities, and concealed conspiracy. But a game that actually on its surface, over-simplicity, false choices, and some utterly, utterly terrible voice acting.

Morgan talks about the “alluring mystery” of “how deep the layers went”. What I’ve been experiencing is how so often the game is a puddle on a painting of a swimming pool. There is no doubt that the scene with Maggie Chow is superbly done. (With the enormous exception, as Morgan also points out, of how offensively fucking awful is her voice acting.) The maid on the fringe, who will, if you hang out too long, eventually pull a gun. The tug-of-war in your mind as you try to rectify a woman you want to believe in because of your brother’s affections, with someone you’ve heard is deliberately causing Triad wars, and seems supremely dodgy. For me, it was hacking her computer, and seeing the email from Simons that assured me she wasn’t on my side at all. And for me, that such unambiguity was on offer in her apartment rather spoils the moment. No longer is it a case of wondering if Paul had a reason to trust her, but a binary case of realising that she’s a baddie.

dx31.jpg


But then, keep reading Morgan’s piece and he might as well have been playing a totally different game. He talks about exploring the apartment opposite, following up on Chow’s lead with the police, and then returning to her place for answers. At that point the maid pulls her gun, the doors slide back, and it’s a secret base filled with armed soldiers. He goes through a super-violent fight, and finds the Dragon’s Tooth sword.

Nope.

I went upstairs during my first visit, having been invited to “look around”, by the maid. But she got twitchy, didn’t like my going into Maggie’s office, so I zapped her with my stun gun. There I learned what Maggie was really up to, and then found my way through a secret hatch into the hidden military base. Sneaking my way around there, I took out the odd guard, and found the Dragon’s Tooth sword. Using hacking and stealth, it was mine, and I silently made my way up onto the roof, and jumped down the sides of the buildings until I was back on Tonnochi Road.

dx29.jpg


And here’s where I struggle. My experience of playing Chow’s apartment was a bit silly. It was obvious she was lying, I accidentally found a secret base and stumbled on a sword I wasn’t yet looking for, and then got out before it could have a narrative impact on me. It only feels extraordinary when I read about how else it could have gone down. While realising, latterly, how much freedom was actually on offer is interesting, it can be extremely difficult to appreciate when you’re only playing the game you’re playing. Unwittingly pick a disappointing route, and it’s going to be a disappointing experience. Especially when that disappointment comes from the game’s glitching on your actions.
 

Melan

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That's a bad piece of writing for a site which had previously spent years deifying Deus Ex, sometimes in a very cringeworthy way. Does Walker seriously argue that his way of playing through the HK plot shouldn't have been possible because it reduces the narrative impact of finding the Dragon's Tooth? That's just an argument towards "cinematic" design where player choice is subordinated to Press F to Pay Respects.

Behead all RPS staff.
 

Infinitron

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That's a bad piece of writing for a site which had previously spent years deifying Deus Ex, sometimes in a very cringeworthy way. Does Walker seriously argue that his way of playing through the HK plot shouldn't have been possible because it reduces the narrative impact of finding the Dragon's Tooth? That's just an argument towards "cinematic" design where player choice is subordinated to Press F to Pay Respects.

Behead all RPS staff.

Of course. On the other hand, I kind of sympathize, because I remember something similar happening to me all those years ago. I immediately realized there was something dodgy going in the apartment (IIRC you can hear the noises from the "secret base" through the walls) but I purposely didn't investigate it because I wanted to do Maggie Chow's "side quest" first. :P Degenerate!
 

Baron Dupek

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Series of articles made by John Walker on RPS (SJW combo) over - more than decade - old game, in times when some standards were different and people has distance to themselves.
What could possibly go wrong?

I don't have enough alcohol to real all that clickbait garbage.
 

Melan

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Walker is an idiot, case closed.
…To where stuff starts to go a bit wrong. I found the store of green goo the NSF are keeping in Battery Park, just like I was told to, but in order to get to it I used all my tranqs and electro-sleep-stick charges. Coming out from the building, Anna Navarre enthusiastically congratulated me on having been willing to kill… wait, what? I panicked. I killed someone? Who? I retraced my steps, checked every downed guard, and they were all labelled as “unconscious”. Was Anna just assuming I had to kill to do it? Or had I accidentally murdered one of these people I know – from fifteen years of remembering – to be good guys? I’m really hoping the former. Paul would be furious.

Anna then wanted me to go sort out the mess my brother Paul had apparently caused getting a bunch of hostages taken on the metro. But I’d no non-lethal ammo left. And I wasn’t about to start killing the people I know I’ll be siding with any moment now. Sneaking in down through what seemed to be sewer pipes, I found my way to the station, packed with NSF. And they shoot on sight.

Dodging around the tunnels, I eventually stumbled on a grate I could exit without being immediately spotted. Except, I couldn’t exit, because there was a hostage standing in the way. He wouldn’t budge. He wouldn’t talk to me. He wouldn’t acknowledge me at all. If I hit him with a crowbar he just cowered. If I sprayed him with pepper spray he rubbed his eyes, but defiantly stayed on that exact spot. And any of these attempts attracted the attentions of the guards, who shot me to bits.

And it’s here that I had to first be very honest with myself. This isn’t good enough. If a game came out today, and I encountered immovable NPCs bugging out missions made near impossible due to such a massive bias toward lethal ammo, I’d be mocking it as I critiqued it. An already very tough mission being made near impossible due to completely crummy AI.
Just reading a dropped newspaper in the street is a worthwhile experience. Although, I must concede, one that requires an awful lot more effort from me than fifteen years ago. When Deus Ex did it in 2000, this wasn’t a means of conveying story that had been miserably stomped into the ground. Games weren’t routinely laughed at for apparently having featured people whose method of keeping a diary was to write an entry, tear it from the book, and then leave it lying on a box in a corridor. My patience for consuming story through paragraph snippets has been chipped away at over the years. It’s tough to not just skip past them and get on with the mission, but each read reminds me how much they add to my understanding of the world.

A quite remarkable amount, actually. By this point in the game, the complexities of the Grey Death have not been addressed by the main plot. What Ambrosia is, why people are dying, and indeed why the NSF might not be big fans of the way UNATCO and government organisations are distributing possible medicine, has so far been communicated through newspapers, terminals and conversation with non-critical NPCs. The game is pretty much assuming you’re going to be reading.
:popamole:is teh hard, redding is teh hardest:decline:
 

deuxhero

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People don't even know what "racist" means anymore. A horrible fake accents in no way indicates a view that one race is inferior.
 
Unwanted

Goat Vomit

Andhaira
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People don't even know what "racist" means anymore. A horrible fake accents in no way indicates a view that one race is inferior.
People can't into separating race, nationality and culture these days. Anything that could ruffle someone's feathers is branded racist/sexist no matter how loosely they are connected with actual race or sex because racism muh soggy knee are power words that pop media has made into deadly sins. Nationalism is supposedly ded so if you whine that your patriotic sensibilities got offended then nobody cares when someone calls your nationfu a shit in fiction, if you say it is racist on the other hand you have yourself a nice angry mob ready to do your bidding.
 

ultimanecat

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Goddamn Walker.

The *modern* way of presenting Chow's apartment would prevent your skills from even being usable until the game designers deigned to let the plot move forward, and it wouldn't make any sense other than "crafting" the experience.

JC is a nano-augmented superagent. He can take a look at a room and know what shit he can manipulate and with what skills. Is it a massive clue that you can hear sounds emanating from the MJ12 lab while still in her apartment (or the genuinely funny subtitle alerting you to a MJ12 soldier clearing his throat nearby)? Yes, but the point is as a player you have the same information JC does, and JC is very capable at getting information.

You can take the people you're talking to at face value and play the game based on the info they choose to give you, or you can be a nano-agent and go get your own information with relatively small effort. Either way is fine, neither breaks the game.

You want to talk about using your abilities to actually fuck things up, then talk about jumping into Tracer Tong's compound before you're supposed to.
 

ZagorTeNej

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Walker is an idiot, case closed.
…To where stuff starts to go a bit wrong. I found the store of green goo the NSF are keeping in Battery Park, just like I was told to, but in order to get to it I used all my tranqs and electro-sleep-stick charges. Coming out from the building, Anna Navarre enthusiastically congratulated me on having been willing to kill… wait, what? I panicked. I killed someone? Who? I retraced my steps, checked every downed guard, and they were all labelled as “unconscious”. Was Anna just assuming I had to kill to do it? Or had I accidentally murdered one of these people I know – from fifteen years of remembering – to be good guys? I’m really hoping the former. Paul would be furious.

Anna then wanted me to go sort out the mess my brother Paul had apparently caused getting a bunch of hostages taken on the metro. But I’d no non-lethal ammo left. And I wasn’t about to start killing the people I know I’ll be siding with any moment now. Sneaking in down through what seemed to be sewer pipes, I found my way to the station, packed with NSF. And they shoot on sight.

Dodging around the tunnels, I eventually stumbled on a grate I could exit without being immediately spotted. Except, I couldn’t exit, because there was a hostage standing in the way. He wouldn’t budge. He wouldn’t talk to me. He wouldn’t acknowledge me at all. If I hit him with a crowbar he just cowered. If I sprayed him with pepper spray he rubbed his eyes, but defiantly stayed on that exact spot. And any of these attempts attracted the attentions of the guards, who shot me to bits.

And it’s here that I had to first be very honest with myself. This isn’t good enough. If a game came out today, and I encountered immovable NPCs bugging out missions made near impossible due to such a massive bias toward lethal ammo, I’d be mocking it as I critiqued it. An already very tough mission being made near impossible due to completely crummy AI.
Just reading a dropped newspaper in the street is a worthwhile experience. Although, I must concede, one that requires an awful lot more effort from me than fifteen years ago. When Deus Ex did it in 2000, this wasn’t a means of conveying story that had been miserably stomped into the ground. Games weren’t routinely laughed at for apparently having featured people whose method of keeping a diary was to write an entry, tear it from the book, and then leave it lying on a box in a corridor. My patience for consuming story through paragraph snippets has been chipped away at over the years. It’s tough to not just skip past them and get on with the mission, but each read reminds me how much they add to my understanding of the world.

A quite remarkable amount, actually. By this point in the game, the complexities of the Grey Death have not been addressed by the main plot. What Ambrosia is, why people are dying, and indeed why the NSF might not be big fans of the way UNATCO and government organisations are distributing possible medicine, has so far been communicated through newspapers, terminals and conversation with non-critical NPCs. The game is pretty much assuming you’re going to be reading.
:popamole:is teh hard, redding is teh hardest:decline:

He's a game journo, what do you expect? They all look like they come off an assembly line or something, whine about social issues, be shit at playing games, proclaim newest AAA crap to be Citizen Kane of gaming, promote the fuck out of latest pretentious indie shit from your hipster buddy etc. I'm surprised people can tell them apart.

That said, game acting like I killed NSF guys at Castle Clinton and in the Subway when I merely knocked out/disabled them always irked me too, especially when the game had no problem differentiating between lethal and non-lethal force earlier in the game (Liberty Island).
 

taxalot

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A quote from the comments part Two of that RPS article series:
SlimShanks says:

Games journalists have a “unique” way of playing games.
John Walker says:

Your “mum” has a “unique” way of “kissing”.
Classy, Mr. Walker.

I can remember at least one another instance where he did that on RPS. It's his thing. This guy is a feminist, but not for moms, who are apparently not real women.
 

A horse of course

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Who actually says the "Tommochi Road" line? Because I'm pretty sure all the bit-parts and most of the moderately important roles in Hong Kong are played by Chinese VAs (with the notable exception of Maggie Chow and Tracer Tong, whose VAs play like ten different people each).
 
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A member of the Luminous Path who approaches you the first time you enter Tonnochi Road. I have no idea who the voice actor was, though.
 
Unwanted

CyberP

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"My experience of playing Chow’s apartment was a bit silly. It was obvious she was lying, I accidentally found a secret base and stumbled on a sword I wasn’t yet looking for, and then got out before it could have a narrative impact on me."

Tong contacts you via infolink telling you to grab the sword and that he can remove the killswitch if you do as he says. Nearly everything in DX plot-wise is accounted for. It doesn't have as strong a narrative impact in this particular instance but that is the cost of player freedom and simulated/dynamic storytelling. DX still manages to have one of the best plots in gaming regardless & the storytelling techniques are just amazing anyway.
 

Xathrodox86

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I agree. Hong Kong, and especially Tonnochi road, was always my favorite area in DeusEx. It's just a pity that the shady atmosphere and the sense of lurking secrets are largely superficial. After all, there isn't that much to do or discover there.

On another note, I almost stopped reading right here:
‘You are an unfamiliar face on Tonnochi Road.’ What a great line. Even spoken in that painful, bordering-on-racist, fake Chinese accent

What. the. fuck. is. wrong. with. the. world.

I think the biggest secret was the drowned, underground tunnel. I've maxed my breathing just for this little bit. Totally worth it.

As a side note: anyone succesfully looted the police station without getting the fatal case of lead poisoning?
 

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