When the audience for shooting games has such specific, unmoving expectations, and mainstream video game design insists on fun, action, and consistent player feedback, it's difficult for games to be nuanced, or even varied, when it comes to violence. New on VICE Sports: Sexism Still Rules in British Football Either overtly happy or overtly sad, there's no resolution. The game ends on an ambiguous down note, but it never devolves into directly addressing what Kane or the player does. But where Kane & Lynch stops short is moralizing. Both you and he are, essentially, in it for yourself. Player motivation-your attitude towards killing people in the game-is as blunt as Kane's. Likewise, the player shoots people and shoots people and shoots people, commits all this violence so they can reach the game's end. Unlike most video game protagonists, who are trying to save the world or stop the bomb, he's in this only for himself. Kane's motivation isn't grand or impressive. When his escape van crashes after a botched bank robbery, Kane takes one look at the shattered vehicle and says, "Leave him." Though his daughter despises and wants nothing to do with him, Kane keeps going after her-at the end of the game she either tells him she hates him one last time or ends up shot, seemingly dead.
Kane, your main playable character, is a selfish crook who'll kill or abandon anyone if it means getting what he wants.
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