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FAQ/Walkthrough by ia_mc
Version: 1.0 | Updated: 01/21/08
Kane & Lynch: Dead Men X360 Walkthrough by ia_mc (firstname.lastname@example.org) Version 1.0 1/20/2008 Kane & Lynch has received a lot of attention from gaming media and users, most of it negative. This guide won't address any of it. What this guide will do is provide a full walkthrough and general tips (also applicable in multiplayer) to get you through the game on the hardest difficulty. 1. Gameplay 2. Weaponry -Walkthrough- 3. Impact 4. Trial 5. Withdrawal 6. Cracking Up 7. The Mizuki 8. The Exchange 9. Reunion (DUMP TRUCK) 10. Breakout 11. Retomoto Tower 12. Tokyo Streets 13. Freedom Fighters 14. El Capitol 15. Bird’s Eye View 16. Within the Walls 17. Choice 18. Consequence 19. Multiplayer 1. Gameplay Most of the levels in Kane & Lynch are reasonably straightforward, and so general tactics are the order of the day. -Aiming There are a number of settings in K&L to tweak the aiming sensitivity and acceleration both in sighted and unsighted fire. Raising the "acceleration" value may help if you find the aiming sluggish or unresponsive. That said, I found the defaults worked fine for me. More significant to aiming is when to use the sights (Left Trigger) and when to aim from the hip. Notice I said "aim from the hip" rather than "shoot from the hip." Generally I find it most useful to aim in the general direction of an enemy, then sight in to make fine adjustments. The exception to this case occurs when you are slicing the pie (see Movement & Cover for more details). With practice, you can also be reasonably accurate shooting from the hip. Regarding targeting, I strongly encourage shooting for center of mass when possible. Most enemies in K&L will drop after a few shots to the torso, provided they hit. Going for the top of somebody's head barely sticking out from behind cover can work, but it will often take a few shots to connect. If you're the hang back and play it safe type, this may be a good tactic for you. On recoil, fire in short bursts. It also helps to compensate as you fire rather then simply letting the crosshair creep up above your target. -Movement and Cover Particularly if you're playing on the hardest difficulty, being out in the open is extremely dangerous in K&L. If you must be in the open, stay moving as it makes you harder to hit. The game employs a regenerating health system (red = dead) to encourage you to avoid getting shot in rapid succession. In general, the environments are strewn with objects capable of stopping bullets. Better them than you. K&L has a built-in cover system that allows you to hide behind corners and either blindfire or swing out around them to take aim. You can also take cover and deliver fire from behind waist-high obstacle even if you are not at a corner (your character will duck his head slightly, indicating that the game registers you as "behind" the cover even though you aren't leaning against it, it takes a second or two). Basically, you move up next to the cover (you must be crouching if the cover is waist-high) and then release all movement keys. Don't touch them at all. You can even move slightly *past* a corner and, while this will technically leave you vulnerable for a split second, you would be much more vulnerable futzing around trying to lean up against the wall for several seconds. From this position you can deliver blind fire (simply shoot from the hip) or aimed fire (Left Trigger or aim key). You can also deliver blind or aimed fire over a waist-high obstacle without being at a corner. Both blind and aimed fire from cover can be useful (blindfire when you want to be less exposed and can afford the accuracy drop, aimed when you're willing to risk exposure for the additional accuracy). An interesting technique arises from using aimed corner fire that is not standard-issue among cover shooters. After swinging out to aim, you can continue moving in whatever direction to get a better firing solution (or move further behind cover). If you move back near the corner, you'll snap behind it again as soon as you stop aiming. This is particularly handy in clearing an area around a corner or a doorway by gradually strafing out. SWAT teams sometimes refer to this as "slicing the pie," and it will help you get the drop on hidding enemies. Needless to say, you don't need to lean against a wall to start slicing the pie. The advantage of doing it from wall leaning is that your character will shoulder his weapon to the left side if you pop out from cover to the left, thus reducing your exposure strafing around a left corner. The most important thing about leaning against a corner is that it does not make you invincible. You can and will be hit while using the game's built-in cover system. Body parts stick out, the cover chips away, etc. As such, it is primarily an aggressive stance. You lean up against the wall so that you can pop out and shoot enemies while enjoying a moderate amount of protection. Leaning against a wall is usually *not* the best way of regenerating your health when you are damaged. Instead, stand back from the cover and try to put it between you and the enemies. Observe the enemies' tracers to see where you're being shot from. If you're under fire from too many directions, maybe it's time to relocate. Reloading in K&L is handled with the A-button. There’s no magic number telling you how many shots you have left in the magazine, so get a feel for it. If you don't fire, your character will automatically reload. To avoid this, keep the fire button slightly depressed to keep the weapon raised (this can also be used to ensure you don't hit your cover with the first shot while blindfiring). There are two basic movement postures: standing and crouching (you can crouch either by toggling or holding the left shoulder button). Except for when limited by your cover, this is often a matter of personal discretion. Standing will get you across open areas faster (click left stick to sprint), whereas crouching will allow you to minimize your profile and make better use of any incidental low cover nearby (such as parked cars). Oh, speaking of cars, they explode after being shot enough. Use this to your advantage. In general, it's dangerous to be close to enemies. Granted you can protect yourself from gunfire by meleeing using the A button, but his buddies are likely to shoot you while you kung fu him into oblivion. While Kane, Lynch, and co. are much tougher than the average enemy, you can go down pretty quickly if the A.I. is landing every shot. Putting moderate distance between you and the AI and moving to neutralize the advantage his cover provides while maintaining your own is key to success. -Dying K&L's death system allows you to be revived by any of your squadmates (unless they are carrying a body, as in certain plot situations). Get revived too often or wait too long and you die. Obviously, staying close to your squad helps on this account, particularly since you have to keep them all alive (you can revive them as often as you like, but not vice versa). In order to compensate for the AI, computer-controlled squadmates are significantly tougher than player-controlled characters. If you are the cautious sort, you can simply pull back from the action as soon as you get revived, then wait awhile. On the hardest difficulty, this is a pretty long time. Also, you'll have no concrete indicator of when you're at risk of overdose. Usually I find it best to simply try to stay alive during that time and keep fighting, but if a section is giving you trouble you may want to employ this method. -Squad Kane will always have backup through the game, and so will Lynch save in a couple scenes. The orders basically amount to "follow" and "go there." Save in a few situations, the author advises against siccing your dudes on specific enemies. Usually it's more effective to focus on what position you want your squad to take (make sure there's cover) and letting them engage targets of opportunity. Your squad is reasonably capable when it comes to killing enemies, but watch out for getting flanked when you think they've got your back. In all fairness, you could probably get through the game on morphine difficulty without issuing any orders, so while the squad helps you don't necessarily need to pay much attention to them Your squad will also supply you with ammo, to a point. Eventually, they’ll start making snide remarks at which time you need to find a new weapon. 2. Weaponry K&L allows you to carry a pistol, two types of grenades, and a long weapon at any given time. You can also swap weapons with your squad by holding the right stick near them. I'll address the various types of weapons, with mention of specific weapons as applicable. Comments are mostly personal preference, and I recommend finding what works for you. -Pistols You have a generic USP handgun and a revolver (carried by Lynch). Both are reasonably accurate and have acceptable stopping power. In general, I'm inclined to side with the USP because of its higher mag capacity and faster rate of fire. -Submachine guns In this category you have the MP5 and the P90. The P90 has a larger magazine size, whereas the MP5 is more widely available and seems to be more accurate. In general, the author recommends the MP5. -Shotguns Pump action and semi-auto shotguns are available. As you'd expect, they're pretty good at close range. The major drawback of the pump-action is rate of fire, which is basically fixed by the semi-auto version available later in the game. If you like to engage in relatively close quarters and pick your shots, SGs work well. -Assault Rifles While each rifle has its quirks, they mostly serve the same purpose. Use them at close to medium range, in which a burst to center of mass will drop unarmored opponents. I personally prefer the M4, as it seems to be the most accurate of the bunch, but experiment for yourself. The semi-automatic AR carried by prison guards is also pretty effective so long as you can deal with firing single shots. -Sniper rifle There's only one, so no points of comparison here. The sniper rifle in K&L is godly. A torso shot will drop an enemy, and it is pinpoint accurate at any visible range. Unfortunately, ammo is hard to come by. -Grenades The author didn't find grenades necessary for the majority of the game. Frag grenades can be useful for flushing out enemies or blowing up cars. Smoke grenades reduce your chances of getting shot, but you should be able to survive a run across most open areas in the game as long as you have cover at both ends. Lynch carries incendiary and teargas grenades, which are essentially middle ground between offensive and defensive purposes. Worth noting is that your squad will be disabled by teargas and it will fog up your vision, so stay away from it or keep it away from you (throw them back with the A button). 3. Impact This is the tutorial mission, so I won't need to do a lot of hand-holding. You'll be surrounded by friendlies who will lead you through the level, kill the enemies, draw fire, and revive you at all times. Technically, you don't need to fire a shot. Follow Lynch into the alley, at which point there is a cutscene. Continue further down until you reach a fence (climbable with the A button). One the other side you'll have to wait a few moments for your friends to open the garage door. Go in, then wait some more for a propane tank to blast a hole in the rear right wall. Go through, take a left, cross the street, and enter a warehouse. Climb to the top floor then circle to the left. Either walk off the catwalk to the ground floor or follow your allies. Either way, cross the street and enter a cafe. Wait until they get the door open, then run diagonally across the street to the donut shop (to the left). Wait there until they tell you to leave, then do so through the opposite entrance. Take a right and follow Lynch (there's a van over the barrier). 4. Trial You'll be greeted by various tutorial prompts and objectives (make sure you wall-lean against the vending machine). Follow them until Kane and Lynch are at the top of the scaffolding. As an aside, you can indeed rappel down even though the mall cops show up, but I wouldn't advise it on morphine. Once the shooting starts, hold the high ground and pick them off as best as possible. Watch for two that will flank from the escalator nearby. Circle around to get all the angles, then head down once you’ve cleared. Another wave will appear. Get behind something solid and take them out. Once you’ve done that, the exit is away from the car’s trunk (there’s a gap in the fence). 5. Withdrawal Take the stairs down to the street and walk up to the Van. Cutscene ensues. Climb over the wall and rush the security guard. Melee him and the next one inside quickly, then climb the stairs. Drop the gas in the vent near the window, then rappel off the opposite edge. Go in, clear the area, then move to the locked door which Paulie will crack (watch out for the guys on the other side of the glass). Go in, cutscene. Make your way down to the vault, using the corners and elevation to protect you from fire. Once you reach the vault, go back up one flight of stairs and hold your ground. Once Paulie blows the vault, enter. Cutscene, and repeat. When you arrive in the lobby, Lynch will be flipping out. Notice that near him on the ground is a bag of grenades which may prove useful. Cops swarm the lobby through the front entrance (this also happens when Lynch is by himself in co-op . . . or is it in his mind?). A lot of the cops will go straight for the stairs to the second floor. You can use this to set up a killzone for them on either floor. Stay away from the windows because there’s a sniper (you’ll see his crosshairs in singleplayer or an icon above your head in co-op when you’re targeted). Stay alive until the van shows up then get in. 6. Cracking Up A significant part of this level is a rail shooter which has K&L sitting in the back of the van. The easiest way to deal with cop cars is throwing frag grenades, timing the strength of the throw so that it hits. You can also simply hose the vehicles down with weapon fire, going for the vehicle’s occupants specifically. At one point you’re called upon to clear a roadblock. Deal with the cops behind the van first, then advance along the tunnel. Take a left into the adjacent tunnel to circle around and flank the sniper. A cop car will pull up, so avoid getting run over and ambush them as they get out. Once you kill the cops at the roadblock, the van will pull up. Get in. The next on-foot section requires that you guard the van in a relatively open area. You may want to switch to your pistol for better accuracy. Cops will attack from the road you were on, the opposite exit, and the embankment. Partway through, Kane will realize he forgot the money. The bag can be found near a pillar (there is an objective marker). Get the van back on the road and hop in. The next section puts you in the subway, and it’s fairly tough if short. Run straight down the stairs to the tracks and make your stand. SWAT teams will attack from both directions, and it’s unlikely that Lynch will take out all the ones on his side (unless you’re in co-op). If you can time it frag grenades are very useful. Otherwise, do your best to divide your attention and get in the train *immediately* when it arrives. 7. The Mizuki If you’d like to make the most of Lynch, go ahead and sic him on a bouncer while taking out another yourself. Either way you end up fighting them, and Lynch is not that effective later in the level. You do, however, miss out on a cutscene if you get straight to the action. To be “stealthy,” wait until you reach the bouncer who tells you not to go further and start there. Go to Yoko’s office and have a nice chat. Either way, you end up fighting in a crowded dance club. It’s difficult to pick your shots properly, so my recommendation for ease of play is not to. Using the crowd for cover (bouncers are hesitant to shoot unless the crowd has cleared out of an area), fire at the bouncers even if you don’t have a clean shot. Odds are you will hit a few civilians, but you’ll be safer (which is especially useful since Lynch can’t revive you). During this sequence Lynch cannot aim using sights and is pretty much a waste of space as AI. Stick him in a room, then clear the next area before bringing him along. Take the stairs to the second floor and follow a fairly linear path to the roof. Okay, Lynch screwed up. Keep going along the roof until you reach the window from which you were ambushed last time and grab the MP5 (Kane, since Lynch can’t use it while carrying Yoko). Do the whole thing again, sans crowd. Back on the roof, there’s a tricky section worthy of note in which you must cross a huge skylight. This is complicated by the fact that you’ve probably shot out many of the panes. Wiggle the camera around to look for a reflection that indicates intact glass. Also, watch out for a thug on the balcony to your left as you progress forward. 8. The Exchange Proceed to the pagoda and pick up the phone. Cutscene. Okay, Lynch screwed up again. He’s also going to save your life. Your priority targets should be snipers on the second level of the surrounding overpasses. Kane can’t hit them, so order Lynch to snipe them by pressing Y (or just yell at your buddy if you’re playing co-op). After that there are some relatively straightforward firefights that take you to the staircase (visible from a distance because it’s lit up like a Christmas tree). You have an assault rifle, so you can take on enemies from a reasonable distance. Target them by the flashlights they stupidly leave turned on and don’t forget you have AI backup. Climb the staircase and engage some cops. The van is across the street and amidst all the cop cars, so you pretty much have to clear them out to finish the mission. The median is perfect cover and should allow you to stay pretty safe throughout. 9. Reunion (DUMP TRUCK) Climb out of the ditch and melee the gunman. Clear the immediate area and watch your radar carefully. Enemies will approach in waves from areas indicated on radar. Usually the easiest way to get them before they reach Jenny is to intercept them close to their vehicles. A few might get past you, but Lynch should be able to take them out. The last wave is tricky because they approach from two corridors. The ideal situation is for Lynch to take one and Kane to handle the other, but you may decide to fudge that scheme depending on personal preference & AI competence. Grab an MP5 if you can. The next section is famously difficult to figure out. You’ll be facing a giant dumptruck which, if it passes over Jenny’s hiding spot enough times, will collapse it. Your goal is to shoot out any of the glass panels surrounding the drivers’ compartment while taking out thugs in your spare time. The obvious choice is the windshield, and it’s probably also the best. While you do have shots at the windows when the truck turns around, going for them means that when the truck is closest to you (and hence your shots deviate least) you’re shooting at a transverse target. Particularly on consoles, that’s rough. Killing the driver causes Jenny to escape (it takes a little while) and then a cutscene. 10. Breakout Shoot out the cracked glass window and make your way through the area. You’ll reach a long corridor exposed to the outside (and sniper fire). My recommendation is to charge straight down it and take out the guards who pop out while on the move. If you’re less rambo, you could try hanging back more. Go onward and press the button (watch out for guards above you, they can fire through the grating. Sometimes it’s easiest to avoid them). Entering the next area, you’re faced with more guards at a distance. The columns are probably your best cover, although you’ll have to abandon them to reach the control room. Push the button and find Rific’s cell by the green light. Engage in some more gunplay and then keep moving. You’ll end up watching a pseudo cutscene of an inmate opening the gate for you, so be patient. Continue on to the cafeteria. The cafeteria has terrible cover, and so you’re probably best hanging back at the entrance until you’ve taken out most of the guards. You have good cover, they have bad cover, which is what we want. Next comes the laundry and Tharpa. Head down the stairs and kill some guards. The quarters are fairly close, so you may want to pick your weapon accordingly. Fight your way back out and back up. The range changes substantially from here until the end of the level, so I recommend the rifle carried by prison guards. When you head outside next you’ll face a sniper in the tower to the left and on a rooftop to your right. Climb dumpsters to access the roof and the next area to the right. Enter the cell block and talk to Shelly. Scale the stairs to reach the control room at the top floor of the block. Cover is quite sparse, so keep moving and take out the guards as fast as you can. Be careful as you enter the control room as there are guards to the left. Push the button. Continue on above ground level and take out the guards on the elevated path. If you can make a break for the first corner you’ll find good cover to use in the form of an alcove. Otherwise, just shoot first. Climb the stairs to the control room and clear it out (your AI should pretty much be able to handle it). Push a button. Now, you can either take down the helicopter or simply rappel off the side of the tower. Either one works on the hardest difficulty. Once you reach the ground, follow the prison inmates and watch for snipers in the towers. The convicts will break down the fence and provide a nice distraction while you make your way to the armored prison transport. Cutscene. 11. Retomoto Tower Hang around below the helipad and pick off the thugs. They’re poorly armed and shouldn’t be much of a threat. Head to the edge of the roof and start rappelling down. As soon as your reach the correct floor, Kane will automatically set the bomb. Get out of the way! Head as far to the right or left as you can. Once the bomb goes off, your squad will storm in. You can follow them if you wish, or hang back. At any rate, the room has plenty of cover and you should be able to handle it by this point. Approach Retomoto and take the briefcase. Find something to hide behind and cover the door. Thugs will bust in, one of whom is quite hard to kill. Once you’ve cleared them out, make sure your squad is following you and take the door they entered from. The next part is a circular area with stairs on each side and a hole in the middle. This is a segment in which corner cover is seldom all that useful, so slice the pie and use your height advantage for cover. As you progress down, you may wish to send your squad down the stairs first. This frees you up to take out the enemies waiting for them while they absorb bullets for you (note that AI allies can survive more shots than player-controlled allies). When you reach the bottom, a group of enemies will take cover behind some desks and make your lives difficult. Grenades work well here, though you could probably just pick them off with some patience. Get in the elevator. 12. Tokyo Streets Regardless of your actions, you won’t make it out of the building without the cops spotting your weapons. For the first segment of the level, you’re pretty much trapped in the building, so take cover and use your tactics of choice to pick off the cops outside. If you want to move more quickly, you can exit the building and use the pillars outdoors for cover, although this places you at greater risk. Once you’ve cleared the way, hang a right and move down the street. In general, try to stay low and stick to areas in which there are plenty of cars sitting around. As always, open areas are bad. The general path I favor starts on the right side of the street, then moves left as there’s a gap in car cover. Of interest are two snipers and some SWAT members with riot shields. The former can be handled by flanking (take the stairs up to his position) and countersniping (exactly what it sounds like). The SWAT team with riot shields is a pain, as they’re basically walking cover. Sometimes they will expose body parts, though the easiest way to drop them is to put part of your squad somewhere and use them as a distraction to flank. Take a left and arrive at the bus station. This is basically hell because cops approach from multiple angles, have automatic weapons, and buses tend to explode when shot. You may be tempted to go for the high ground, but I recommend against it. You’ll be exposed, which generally = shot. Your goal is to the left and forward. Head in that general direction, keeping distance from the buses when possible (use them as cover, but keep your distance), and control the lanes of fire so that you don’t have to take down more than 1-2 SWAT members at a time. There are some riot shield SWAT members preventing you from reaching the van, which you can flank by circling around the nearby bus. Overall: keep moving, stay alert, and good luck! 13. Freedom Fighters You’ll begin overlooking the battlefield. You can take out some troops from here if you like, but overall the distance is a bit long for Kane’s AR. Drop to the ground floor and group up. It’s worth noting that one of your squad members will have a grenade launcher and only use his pistol (this goes for sniper rifles as well, unless you order them to attack something). My preferred path for the opening area involves sprinting to the covered area to the left and following it as far as possible, then continuing along that side picking off enemies as they show up. You’re probably familiar with the basic tactics outlined at the beginning of this walkthrough by now, but if not the rest of the game is going to hurt. The next section requires that you take out a BTR using the single-shot rocket launchers scattered around. My advice is to keep your squad close enough to revive you but out of the line of fire. You can use corner cover, although I prefer slicing the pie in this instance. Three rockets should do the trick (black smoke should billow). This next section may be the hardest portion of the game. Note that your reinforcements are pure fodder and will almost inevitably go down during the first minute of the fight. Although each team member has a squad of troops following him, they are by no means self-sufficient entities. If you decide to send a buddy to clear an area, send two. There are a number of possible routes, but my preferred one involves taking the center island and then dealing with the jeeps and troops from there (advancing as necessary to trigger the next wave). Every once in awhile a helicopter will buzz you and possibly take somebody down. I find this is most likely to occur while I’m stationary, and running around frantically will usually prevent taking any hits from the chopper. Theoretically you can take it down, but this is in my experience more trouble than it’s worth. Once you cross the plaza, hang a left for what will seem like a cooldown after the previous fights. Stick to the columns and take them out. Cutscene. 14. El Capitol The mission starts with just Kane and Lynch. Move up to an overlook area vaguely reminiscent of the Retomoto tower. Similar strategy here, but in reverse. Finding good cover can be tricky, so if you’re getting hit . . . move. Make your way to the roof by circling around left, then right. Clearing out the roof is a relatively straightforward process. Use corners and/or melee to make short work of it. After that you need to take on two BTRs on the ground below (to the right). Slice the pie and be careful not to shoot the ground next to you. The next section is just plain difficult. You’ll have to take on a helicopter to proceed, and it can make short work of both of you. Its two basic routines are flyby rocket barrage and hovering attack with its cannons (which is the easiest time to hit it with rockets). Both will hurt you good, so use what cover you can before it blows up. Also, a soldier shoots at you from the roof above, which can be either a minor annoyance or retry time depending on how soon you notice him. Once you’ve pumped enough rockets into the chopper, grab a weapon and repel down. This next section relies on the same approach strategy I’ve been preaching for the rest of the game: don’t assault in the open. You can approach the entrance from the left or the right, but the center is questionable. There are a fair number of enemies, but as long as you keep good cover and watch your angles you should be able to handle it. Once you get inside the route is pretty straightforward as is which cover you should use. Climb the stairs and go down the hall to another boss of sorts. While the game suggests you throw grenades in each of the MG nests, I’ve had more success simply plugging them with the firearm of my choice. If you’re getting torn to shreds on the approach, pop a smoke. Once you clear them out, the cover in the middle will explode to reveal a passage. Continue onward using the room-clearing tactics of choice. You’ll encounter a dead end, some troops, and Carlos. 15. Bird’s Eye View Head forward to the overlook and a cutscene. Continue along the path until you encounter the first group of enemies. Their flare will hit the canyon wall, so you don’t need to worry about being detected. Terrain features worth noting are a path to the left for flanking and logs. These logs will *not* provide sufficient cover on their own, and so I suggest players either hang further back (Carlos has a silenced sniper rifle perfect for this) or move further forward. The next encounter has the possibility of turning ugly, but you can still shoot your way through. Rappel down the waterfall and bring your crew. Take out the nearby guard with either melee or a silenced weapon. Move down the riverbed until you are parallel to the facing of the shack. Open up and use the riverbed for cover. This is a difficult fight and you may have to revive or be revived during it. Continue to the other side for another straight up shootout. Both the house and the path to the left offer decent cover, so you and your squad should be in good shape. Continue to the next encounter. If you haven’t already, I recommend grabbing Carlos’ rifle at this point and taking up a position on the path to the right. Hit the explosive barrel and pick off troops, keeping one squadmate nearby to revive you and the rest covering the lower approach. Once it’s clear, move on. The next situation is somewhat similar to the post-riverbed battle, except that you’ll be facing jeeps. Take cover in the shack, or hang back and pick off the jeep gunners with the rifle. Head to the bridge and rappel down. You’ll see a guard patrolling on a bridge above. Hit him with the sniper rifle and continue on. If you have the sniper rifle ammo, I recommend picking off some enemies from your elevated position. After that, you’ll have to go down and slog through the village. There isn’t a whole lot of latitude in which route you can take, so use your squad as meatshields and watch the static weapon emplacements carefully. You may wish to use smoke, frags, or gas. Continue to the bridge. 16. Within the Walls Use the sniper rifle to clear the path for Carlos, then order him to move to the gate (watch for the guards inside the hacienda). After something happens, keep moving along the upper path and follow it to the right. Pick off some sentries and rappel down. The best cover in the section can be found on the far wall opposite the ascending ramp. The best cover for the next section, however, involves going through the building interior, so you may wish to compromise and use the scattered crates to more easily access it. Either way, you reach a switchback covered by a sniper. This guy is barely visible, so you’ll have to use the sniper rifle and/or move up closer. Also worth noting is a guard in the watchtower that’s easy to miss. Approaching the sniper’s location, you encounter a gate followed by another one of the plaza areas you’ve come to expect. Thin the herd from the gate if possible, then take an immediate right when entering the area. Follow the path, using columns for cover as necessary, to the doorway opposite. You’ll encounter another rough area in which you take fire from both sides as you emerge. I recommend rushing the position to your left. This will give you some protection from the rain of bullets hitting you from the right. Once you’ve done what you can from that position, move up using the gazebo for cover. You will have to do a little sprinting through the open, but not as bad as if you’d taken the direct route there. Mop up, making sure to get guards in the windows. Take the door. You’ll find yourself in . . . . you guessed it . . . another plaza area. Approach Jenny in the center and watch the cutscene. Next you’ll have control as the brothers talk trash to Kane. While it’s tempting to simply shoot them in the head, don’t. Look to the right, and there will be a mine next to Carlos’ body. Shoot the mine, I repeat, shoot the mine. After that you’ll face another firefight against enemies on the upper level. Retreat to the columns for cover and work your way around to clear the area. Head for the gate. 17. Choice This section starts you out in another rail shooting sequence. Lynch has a very limited field of fire, so most of the responsibility falls on Kane during this sequence. During the first segment, make other vehicles priority targets. Once you reach the airfield, your primary threat will become the guard towers (inhabited by guards with rocket launchers). These should be your first target at all times, with enemy troops and vehicles as secondary considerations. Eventually, you’re tasked with stopping a plane. Shoot out as many engines as you can on the initial approach, then finish them off as you chase the plane. The aircraft won’t stop until the end of the runway for dramatic purposes. The next section has Kane clearing out the cargo plane while Lynch handles the approaching jeeps. In theory, that is. What I recommend is to have both Kane & Lynch handle the enemies in the jeeps outside, then handle the plane. Watch your fire, particularly in the cockpit since hitting Jenny results in mission over. Once you clear the plane a cutscene will trigger and you will be faced with “the choice.” If you want to cut and run, take Jenny and GET TO DA CHOPPA. You’ve finished the game. If you want to save your pals, take a right after the initial decision point cutscene (it’s another walkway). Onward to . . . . 18. Consequence Your goal is to reach the church on a nearby hill. This is both harder and easier than it sounds. Unfortunately, there are a number of enemies in your way and Jenny won’t listen to any commands. On the plus side, there are a number of explosive barrels next to the jeeps and clustered enemies. As usual, I recommend avoiding the middle pathway and instead keeping to either side to avoid getting stuck in a crossfire. Whichever route, you’ll eventually reach a staircase leading up to the cemetery. This is rough, because there’s no real cover along the way and Jenny will automatically follow Kane. The ideal situation is for Lynch to slice the pie going up the stairs and clear out the enemies at the top. The AI, naturally, won’t be too cooperative in that regard, so you’ll have to help Lynch out when he gets into trouble. Most of the gravestones make pretty poor cover, which you should use to your advantage by taking out exposed enemies quickly. Ascend to the church and watch another cheery cutscene. Your initial goal is to hold the church. Pie the edges of the drop (the edges are too low to provide good wall-lean cover), taking out enemies one by one. You may want to use the sniper rifle and go after enemies that have appeared in the village below. Otherwise, you’ll fight your way to the docks in much the same way as you fought to reach the church. Oh, and if, at any point, Jenny goes down a second time, Kane will have to carry her. This means you’re stuck going through the rest of the level firing a pistol from the hip. Not good, not good. Once you reach the docks, no matter how meticulously you clear them beforehand, enemies will pop out of nowhere and hit Jenny (if she’s still up) with surgical accuracy. Take comfort in knowing you doomed her the minute you decided to save Shelly. From the docks it’s simply a matter of taking out a few more soldiers and getting to the boat at the end. You’ve now had the full Kane & Lynch experience. If you did the whole thing on Morphine difficulty, pat yourself on the back. 19. Multiplayer K&L’s multiplayer is in many ways an extension of the singleplayer. You’ll end up encountering areas from the campaign and using similar tactics. The main factor at work is (obviously) other players. Players tend to be more mobile and unpredictable than AIs, particularly considering that one second they’re on you’re side and the next they’ve gone traitor. As a result, multiplayer tends to be less about holding positions than the singleplayer due to everyone moving around. While the obvious choice for when to turn traitor yourself is when you’ve collected most of the money and are close to the end of the game, you should keep an eye open for opportunities earlier in the game as well (such as during a quiet moment with the guy who has all the cash). Experiment with different strategies, familiarize yourself with how other people play, and continue to adapt your approach accordingly. That concludes my walkthrough of Kane & Lynch: Dead Men. If you have any questions, fire off an e-mail to email@example.com or send a PM to ia_mc on the gamespot boards. I’m more likely to receive the PM, since this e-mail address has an aggressive spam filter. -Copyright/Legal This guide is the legal property of Mischa Carlson (2008) and I maintain sole rights to its contents and distribution.