Review – Disjunction
Disjunction is set in 2048, but it feels like a throwback to the 90’s with a pixel art style, enemy ‘vision cones’, and old-school difficulty that’s straight out of the SEGA Genesis days.
Jumping into three characters over the course of the game, starting with Frank, then the hulking Joe, then finally the SMG-wielding Spider, players will explore a cyberpunk version of New York to unravel their individual stories that – as fate would have it – happen to intertwine. Each character has unique abilities that they bring to the streets of the Big Apple, along with an RPG-lite skill tree that can augment those abilities.
Frank, for example, can fire shock projectiles, provide cover for himself with a smoke grenade, and – if it’s all gone wrong – can even heal himself. The downside to that last ability is that he must stand still to do it, but a quick skill upgrade later and players can heal Frank’s wounds while on the move. It might not seem like much, but in a game that’s so dependent on keeping out of camera and enemy vision cones, movement is critical.
Levels have a checkpoint somewhere within them, but they can save your progress only once. I occasionally found it better to kill myself off to restart the run through the level or from the last checkpoint instead of saving hard-fought progress that would have left me in a bad spot moving forward because I had, for example, burned through all my ammo. In true Metal Gear Solid fashion, moving the corpses (or, theoretically, the unconscious bodies) of enemies out of the line of sight of other enemies, sentry drones, or constantly scanning cameras is essential – but easily forgotten.
Mission difficulty starts low but ramps up quickly. As a result, it can be tempting to say to hell with stealth and shoot your way through the last few guards in the way of your objective – but this is reflected in your post-mission conversations. Kill a few guards and you’ll hear complaints about the bloodbath you left behind and it does change some aspects of the game, but it’s up to you whether that criticism bothers you, much less changes your behaviour.
I had fun sneaking and blasting my way through the story despite it being a bit cliched, and a lot of that is down to the excellent conversations. Frank dealing with Sybil at the game’s outset, for example, has a great back-and-forth, especially if you leave a few bodies behind, that feels very authentic. Jumping over to Joe for the next set of levels brings a totally different conversation style – including the option to be the strong silent type if you’d like.
All too often different characters in a game with multiple protagonists are written with all of them using the same sense of humour, the same slang, and responding with the same emotional tone – but there’s none of that here and I really appreciated that.
What I Loved:
- Great art style
- Unforgiving stealth mechanics yield incredibly tense moments
- Loved the writing, especially the dialogue
What I Liked:
- Each character brings new playstyle potential
- Single-use checkpoints add some strategy to your saves
- Solid soundtrack
What I Disliked:
- Some cheap ‘oh you’re spotted’ moments
- Minor technical issues – day one patch should sort them out
What I Hated:
The Final Word: Disjunction is surprisingly deep, with enough gameplay evolution to keep things interesting and great writing to drive the desire to see more of the story. Well worth a look.
Disjunction is available now on Nintendo Switch, PC, PS4, and Xbox One. Reviewed on Xbox Series X using code provided by the publisher.