Sometimes it’s purely aesthetic, as monitors explode, papers scatter, and shattered cement rains down from damaged structures. The wonderfully destructible environment plays a key role in the combat design, too. You can also grab and throw a lot of things, like explosive barrels, motorcycles, and unlucky henchmen, which is as hilarious as it is effective. You can pick up and use guns dropped by enemies, like shotguns and assault rifles, though their ammo is limited (while Auto 9’s is not). There’s a decent variety of enemies, including some that can make more than a dent in Robo, like snipers, heavy troops, and infamous big boy ED-209, and those present opportunities to get more strategic with your approach than simply charging in and busting heads. The street gangs, bikers, and mercenaries that make up the bulk of the enemy fodder aren’t anywhere close to as powerful as he is, and it is so fun to walk right at these evil doers, shrugging off their small arms fire, and shredding them to literal pieces with the brap brap of Robo’s iconic Auto 9 machine-pistol. The slow, plodding bounce of his gate, with a heavy thunk accompanying each footfall, makes him feel like a juggernaut. Robo (as his friends call him) is a walking tank. It also makes some degree of sense in that Rogue City is primarily a first-person shooter about blowing through hordes of criminal scum, but it is also smart about focusing on what makes the titular character unique. That’s too bad, as it relegates us to being an observer in his introspective crises, rather than sharing in it. Unfortunately, it exists exclusively in dialogue options and cutscenes, with no ramifications in gameplay. That’s the most compelling thematic thread, and it felt like it could’ve been interesting to explore. RoboCop himself is also treading familiar ground, with what remains of Officer Alex Murphy still struggling with figuring out the line between man and machine within himself, this time with the help of a therapist.
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