Okay, so, some Hong Kong thoughts (with some reference to Dragonfall in the spoilered bits)
Quick Non-spoilery preamble about the mechanics not the plot:
As others have said, Shadowrun: HK is a bit of a mixed bag in terms of “polish” - it’s obvious that Harebrained spent a lot of effort on the new engine, and the writing and art design is gorgeous… but it’s also got a bunch of odd glitches, from dialogues sometimes weirdly breaking or getting stuck on a conversation tree you already completed, through the same inconsistent mouse control (not as bad as in Dragonfall, for me, where it sometimes just stopped responding completely; but bad enough to make the new real-time stealth Matrix sequences even more frustrating than I normally find real-time stealth sequences), and the infamous “being able to use Matrix powers in your normal inventory” bug.
On the positive side, a lot of the interface has been fleshed out more (you can actually give items to other characters!), a lot of the environment does a little more (Ley/Dragon Lines now have a number of special effects), and the mission designs let you avoid combat in a lot more situations. On a mixed side, the new Matrix stuff is at least different - but I deeply dislike real-time stealth games, so for me, personally, this is a strong negative on any hypothetical review score. I did a lot less hacking as a result of this change.
It feels like Harebrained were pushing at the limit of what a studio with their resources could accomplish in a given amount of time and money, and I think I would have made different tradeoffs if it were possible. (It’s nice to have a voiced opening and closing cinematic, but I don’t think it’s essential at all, especially given the rest of the game is as text-based as the previous two games in the series.)
Spoilery Bits / Discussion of Plot
As @Blackie62 notes, if the core of Dragonfall is about freedom/control and trust, the core of Hong Kong is (almost stereotypically, for a game made by Western developers about an East Asian setting) about our obligations and ties to our family and our community (and if we can reinvent ourselves or escape our past to become new people).
If the core of Dragonfall is about the tension between freedom and control (and trust), then its certainly true that Hong Kong is interested in the ties of the past, and the obligations these place on you. In some sense, this is inevitable, as one of the stereotypes that Western people get out of East Asia is the Confucian-derived model of society; Harebrained were almost guaranteed to use filial responsibility as a plot thread in a game set here. In another sense, though, whilst Hong Kong is about filial responsibility (and our wider ties to society as a whole), it’s also about telling lies and stories, often about our past, to escape them.
This turns up as a minor theme in almost all the side missions you can take: from the Geomantic Sabotage mission, where we’re hired to commit one big flashy crime to distract from a smaller one [which also echoes the minor revelation at the end that Josephine Tsang has been hiding the source of her success as a small modification of the Qi manipulating engine which so catastrophically malfunctioned in generating the main plot hooks and setting], several missions where your employer has been lying to you (or to a whole community) the whole time (including Is0bel’s story mission!), the very popular Exit, Stage Left mission (where Ku Feng is just pretending to be a Vampire Queen - but you can help her reify this!), your very first mission gets Bao back under Kindly Cheng’s thumb by showing him all the things he tried to suppress that she actually has on record, and so on.
It’s a theme for most of your shadowrunning team: Is0bel is lying even to herself (since she locked her own memories away), Gobbet obviously embellishes her stories she tells you, and Duncan is telling himself a new story about being an awesome Cop Guy at the start of the game itself. (Racter and Gaichu are ironically the most truthful characters about themselves you have in your team, despite being the most monstrous in different ways. In particular, Gaichu’s concerns are about how his personal narrative must change, now his nature has - he wants to be true to whatever his “new” being is.)
It’s a theme for most of the “shopkeeper” characters in Heoi: Ten-Armed Ambrose is most directly lying about his past to escape it (and spins you more tales even when you think he’s being straight), but the Kai Fa family’s entire set of problems are caused by bad communication and lies (by omission if not direct), and Reliable Matthew’s “fake happy” persona is the result of him literally using BTL sims to lie to himself about reality, constantly. (Crafty Xu’s research into her mother’s notes, is a related thing - researching true stories ; and of course Maximum Law can find that telling true stories to the wrong people can get you in major trouble.)
It’s a very recurring theme in the main plot: not only is Raymond Black a “story” and cover used by Edward Tsang to escape his history and demons (and allow him to try to do some good to repay his accrued bad karma), but his mother’s strategy to deal with this is to actually rewrite her own son’s memories - and she employs a significant agent whose main plot-relevant feature is his self-erasing, interrogation-resisting, memory.
If Hong Kong is about not running from your past, then it has lots of counter-examples: Ten-Armed Ambrose may be hiding from a heinous past, but he seems to be doing a lot of good as an attempt to atone for it (he’s also, literally, locked himself into this path, as his cybernetics meld him with his own offices). Reliable Matthew might be an habitual BTL user, but without them, he’d probably kill himself. Ku Feng seems to be more happy as a real Vampire Queen than she would have been if she remained as an accountant. Maximum Law gets himself into big trouble by telling the truth. Even Edward Tsang, in hiding from the world and himself as Raymond Black, was ultimately responsible for the reasons he could succeed in overturning his Big Mistake (via helping the Player Character, and Duncan, out of the Barrens).
Given that we can only achieve the Golden ending for Hong Kong by encouraging multiple people to investigate and accept their past (Is0bel must return to her own memories of her past in the Walled City; Crafty Xu must investigate her mother’s notes of her experiences; and we must both discuss our mutual pasts with Duncan and bring up a key phrase from that past with Duncan and Raymond towards the end of the game) it doesn’t seem that Hong Kong wants to encourage us to just abdicate responsibility, either.
To a large extent, though, the key difference is who the revisionist history affects. Ambrose, Matthew, Law and Ku Feng (and Gaichu) are only really affecting themselves by their mastering their own destinies. Edward Tsang is running from his obligations to society itself - hiding himself in a new story, and a series of lies is hurting an entire megaslum’s worth of metahumanity (and ushering in the coming of a cosmic horror). (In a sense, the Golden Ending robs him of the “dramatically appropriate” resolution of the “normal” ending, where he sacrifices himself to repay that debt - I sort of feel that this is a problem with Hong Kong’s plot, compared to Dragonfall. Dragonfall has 3 endings which are sort of “morally equal”, and just depend on your feelings re freedom, Dragons and predatory AIs who like anarchic states. Hong Kong has one obviously selfish/bad ending, a small palette of mostly-the-same-in-most-details endings, and one obviously Golden ending where you get to be a trickster-style culture hero. I miss the ambiguity of Dragonfall here.)
[Edited to add: it’s quite possible that the reason Racter and Gaichu don’t need to lie or embellish their past to you like others, is that the things they’re running from are externalities. Gaichu is literally hiding from his old team - but he’s come to terms with that already when you meet him (he’s just deciding how to resolve it), and it’s not the first time he’s discarded his old station to attain a new one, as becoming a Red Samurai already required him to remove all ties to his previous life. And Racter wants to escape being merely human at all - and he’s quite comfortable to talk about his lack of moral constraints with you, if you show enough interest.]