Tokyo 42’ s story un­folds through text-based con­ver­sa­tions with a steadily ex­pand­ing range of con­tacts. As your rep­u­ta­tion in­creases with each suc­cess­ful hit, you’ll at­tract the at­ten­tion of an un­der­ground mob­ster; shortly af­ter­wards, you’ll team up with an­other as­sas­sin af­ter be­ing chal­lenged to take out a tar­get be­fore him. It doesn’t take it­self too se­ri­ously, es­tab­lish­ing its tone with an open­ing se­quence where you vomit over the side of your han­dler’s speed­ing sky­car. If its line in cor­po­rate con­spir­acy isn’t par­tic­u­larly in­trigu­ing or new, it’s a ro­bust frame­work for a di­verse se­ries of mis­sions. You might, for ex­am­ple, be asked to grenade a tar­get, or to ag­gro a group of punks to lead them into con­flict with a ca­bal of weaponised na­tur­ists.

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