“They’re stealing your fucking freedoms, man! Fuck!” exclaims protagonist Marcus Holloway by way of exposition at his initiation into DedSec. The sequel follows the exploits of the hacktivist group DedSec (a reference to the defunct black hat hacking group LulzSec ) as they disrupt Blume, a Silicon Valley tech firm with an unhealthy appetite for personal information. Watch Dogs 2, like its 2014 predecessor, is ostensibly a game about surveillance.
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It’s as if Watch Dogs 2, or at least the millions of lines of code that build its world, knows where you are, where you’re going, and what you’ll want to do when you get there. Watch Dogs 2 conjures a place that manages to feel as if it could almost go on without you, despite the fact, of course, that it exists for you.
In Watch Dogs 2, the city practically dances with you, in sync with whatever pace you set. The old cliché that cities are alienating and contemptuous of their citizens’ individuality has been thoroughly inverted. Barely a minute of inactivity transpires before Watch Dogs 2 dredges up something for you to do, be it unsanctioned sailboat racing, a turn as a ride-sharing driver, or hacking city center traffic lights. Boredom has been banished from the cradle of digital civilization. Everything in the game’s rendition of the Bay Area, from stray dogs waiting to be either pet or shot to streetcars that arrive at the exact moment you need them, feels as if it’s been placed, if not with care, then at least with purpose. IN WATCH DOGS 2, the city of San Francisco is so submissive that you might forget it’s a real place.
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