In the middle of the game, there's even an instance of "ass dialing", which is a wonderful gimmick. These are mostly calls to other characters, where you only hear one side of the conversation. Ironically enough, the best bits of character development are shoved onto the loading screens, where you hear cell phone calls. We get all too brief cutscenes, as if they're worried the players are going to go play a Call of Duty if they don't hurry up and get to the shooting. It's a shame Io doesn't trust these characters a bit more.
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So it just drops them into a Max Payne-esque competent, over-the-top, action movie shooter, and then squeezes little bits of supposed character development into the gaps between the shooting. In fact, the game itself isn't quite sure what to do with these two guys. They're more like, well…I'm not sure there's an easy analog in American action movies. These aren't really ex-cops avenging their murdered families. The developers at Io Interactive aren't so much interested in typical action movie tropes. That's what I kept thinking about while playing through the similarly short, furious, and memorable enough Kane and Lynch 2. It was short, furious, and memorable enough. It knew enough about satisfying gunplay to keep things interesting for the six hours or so it took to play through to the end. The Max Payne developers at Remedy had their own slightly clunky take on American action tropes, and they built a memorable shooter around those tropes. Kane and Lynch 2 is a latter day Max Payne. Expect a lot of filler between these cool bits, usually in a warehouse or parking garage or something."
The early bits are the best, on the crowded streets of Shanghai, chasing a pantless couple, or pinned down by the cops in a video rental store, or gunfire shredding the flimsy wooden panels of a gaudy restaurant, or threading through a stretch of jammed chaotic freeway. "So we get a corridor shooter with a bunch of set pieces.
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