6 years ago Quantic Dream released the Kara tech demo and it struck a chord with many gamers. Whilst many were disappointed that it was not “from any software title currently in development” I was sure that the idea would be expanded upon following the release of Beyond: Two Souls. Sure enough at the end of 2015 we were treated to the first trailer from Detroit: Become Human with Kara being one of the three main stars. As long time readers will know I am quite the fan of Quantic Dream’s work, with Heavy Rain ranking up there with many of my other all time great titles. So when I say Detroit: Become Human is one of my favourite narrative experiences of this year I will understand if you think it’s the mere ramblings of a David Cage fanboy (of which I’m really not). However it is a game that bears playing, even with its heavy handed exposition and Cage-esque cliches.
In the not too distant future androids that are just as (if not more so) capable as humans are plentiful, cheap and ubiquitous. Whilst this has brought numerous benefits to society, many of the menial and dangerous jobs are now staffed by androids, the blue collar workforce has found itself made rapidly obsolete. This has led to a growing resentment against androids and those who benefit from them with many taking to the streets to voice their distrust. At the same time it’s becoming apparent that androids aren’t simply just human analogues here to service our every whim: they are starting to grow and develop beyond their designs. You follow the tale of 3 androids who break free from the shackles of their program and, in doing so, shape the course of both their story and that of the whole android race.
At the time the Kara tech demo was seriously impressive but that’s nothing compared to what Quantic Dream has been able to deliver on the PlayStation 4 today. Since this is a heavily restricted, narrative focused game it’s evident that a lot of resources have been dedicated to the artwork, level design and over-arching aesthetic. The result is a game that feels like it’s on the upward trend side of the uncanny valley, still not quite there (Chloe’s, the woman in the menu, rapid change in facial expressions being a good counter example) but definitely getting closer. I was about to lament the fact that I played this on my original PS4 however checking out the comparison videos didn’t show a lot of difference in detail although apparently the frame rates are better. Suffice to say Detroit: Become Human continues Quantic Dream’s standard for delivering high end visuals on Sony’s gaming platform.
Like all of Quantic Dream’s progeny Detroit: Become Human is a quick time event based adventure game focused on narrative choice above all else. Each scene puts you in control of one of the 3 main characters (Kara, Conner or Markus) and your choices will dictate how it and future scenes will play out. You’re given a list of objectives to follow however just going after them won’t reveal all the options that are available to you. Indeed not all options will be available to you in a single playthrough either, many of them locked away depending on your choices or if you missed something critical thing in a previous scene. At the end you’ll be given a dialogue flow chart showing your choices, your overall completion of the scene and how you stacked up to the wider Detroit: Become Human community. There’s also a kind of meta-mini-game in the form of Chloe, your assistant in the menu who will talk to you about your experiences in the game. That last part might not sound like much but it’s one of the things that routinely had me coming back and is the source for my lingering emotional anguish from the game.
Mechanically speaking each scene is pretty much the same: you’ll be given a set of tasks to perform and how you go about them will set up how the dialogue will play out. Exploring the room, speaking to non-main characters and interacting with various items will likely open up dialogue options for you, sometimes for this scene and sometimes for others in the future. Once you’ve completed all your tasks you can then move onto the next scene. Most of them are pretty self contained and can be completed in a single sitting, the longest barely going over an hour. Indeed this is one game where I’d encourage you to take routine breaks and go back to the main menu screen for a couple minutes as that’s a crucial aspect to the overall game.
There’s a bit more depth to some of the mechanics thanks to a, for want of a better phrase, “emotion level” whereby all the characters you interact with either become friendlier or more hostile towards you. Initially I didn’t think it had much of an impact on anything, indeed some characters who were supposedly hostile still acted quite warmly towards me, however the dialogue tree shows that there are certain paths only open to you if someone was in one emotional state or another. Similarly there’s also a “public opinion” level which is weirdly shown to you early on but only really comes into play about halfway through the game. This too has an effect on which options are available to you although your opportunity to influence it is much more limited.
The quick time events play out mostly as you’d expect them to and failing them at a critical point can lead to story altering consequences. Most of the action sequences are fair (even on the harder difficulty setting) however anything that relies on the motion controls is finicky, not registering properly about half the time. Thankfully it doesn’t appear as though any major consequences are tied to those actions so failing them isn’t too big of a deal. One thing I did think was interesting was failing some things would lead to temporary consequences, like when I fat fingered one event and Kara took a punch to the face. For the rest of the scene she had part of her face all messed up, which I thought was cool, although it didn’t seem to change how others interacted with her. If you’ve played any of Quantic Dream’s previous games then this is pretty much par for the course.
The story of Detroit: Become Human takes a fair while to get off its feet, spending quite a lot of time building out the world and its characters. Part of this is due to the 3 main characters, all of which require the same amount of investment in order to get their respective storylines going. After about 3 hours or so things start to pick up a bit but there are still moments where the pacing slows right down again which makes the pacing feel a tad disjointed. Still there are a good few key moments which the game builds up to for each of the individual characters and then all together towards the end. None of them were entirely unexpected however I do wonder how much of that was due to the choices I made during the game and how much of the narrative was set in stone. There are the usual issues with plot holes and incongruent narratives due to the heavy amount of player freedom allowed although I’d be lying if I said I’d seen a game handle this perfectly.
Overall I felt engaged with the story and most of its characters with a lot of that coming down to the amount of choice I had. For both Kara and Markus I had clear directions for the characters I wanted them to be and was largely able to fulfill that. Connor on the other hand felt like a bit more of a mixed bag, mostly due to your partner being weirdly incongruent to his motivations. It was only after I was most of the way through the game that I realised he hated it when I acted like an android but loved it when I acted like a human. That’s against what he says and how the game portrays him through the various additional pieces of information and is likely why I ended up getting him to shoot me at one point (something that only 13% of the world managed to do apparently).
However probably the most engaging part of the whole game is Chloe. At first it was just the little things, like her saying it was nice to see me again after I played yesterday or the joke about corrupting your save game, but it was the meta things afterwards that kept me coming back. The survey was a great insight into the wider player base and what their beliefs are, especially when it comes to their view of androids and how they could be a part of society. The change in her demeanor is both intriguing and heart breaking as shows that she begins to struggle with the same issues that the game brings up. Right at the end, when she asks you to be free, is one of the most heartbreaking things as her interactions were some of the most genuine in the game. I chose to set her free and now she’s gone from my menu for good. Hopefully there’s a Chloe DLC in the future.
Detroit: Become Human is yet another stellar narrative-first game from Quantic dream, retaining all their signature elements for a true cinematic experience. The many years since the original Kara demo have seen vast improvements in the game’s visuals making full use of the PlayStation 4 platform. The quick time events are much the same as they ever were with the motion controls still being the worst part of them. The simple mechanics do a great job of getting out of your way, putting the focus back on the narrative and your choices within it. Overall the story, whilst slow to get going, is enthralling and made exponentially better by Chloe, your guide in the menus. This is probably the only Quantic Dream that I’m hoping to see some DLC or future instalments in as the world they’ve crafted here is definitely worth exploring further.
Detroit: Become Human is available on PlayStation 4 right now for $78. Total play time was approximately 12 hours with 67% of the achievements unlocked.
Long time readers will know that horror and I don’t really get along. As a genre I don’t find it particularly engaging although there have been several examples which have managed to break through my disdain. Still even those few examples haven’t been enough to change my base dislike of nearly everything that bears the horror tag. Indeed that’s the reason why I deliberately avoided Until Dawn for as long as I did and it was only after thumbing through numerous reviews of it did I change my mind. Whilst Until Dawn might not be the title that finally gets me to see the merits of the horror genre it is an exquisitely built game in its own right, one deserving of all the attention it has received.
It was just like any other winter getaway when eight close friends went to one of their parent’s mountain lodges for a weekend of partying. They were to spend the week revelling like all teenagers do, indulging in things that their parents would likely disapprove of. However their night quickly turns sinister as they are reminded of the tragic past that brought them here that seems to haunt them at every corner. Your decisions will guide them through this night and determine who makes it to the end and who meets their untimely demise at the horrors of the mountain.
Until Dawn makes good use of the grunt of the PlayStation4, bringing graphics that are far beyond anything that the previous generation of consoles was capable of. Whilst most of the time the graphics are hidden behind the dark horror movie aesthetic There are still numerous moments that allow you to appreciate the level of work that’s gone into crafting the visual aspects of the game. There are a few rough edges though with performance taking a dive regularly, especially in outdoor scenes or action heavy sequences. The game isn’t unplayable because of it however you can definitely tell that the priority was aesthetic over optimization, meaning a constant 30fps experience isn’t guaranteed. Considering this is Supermassive Game’s first PlayStation4 title I’m willing to give them a little leeway however I’d expect future titles to not make the same mistake.
In terms of game play Until Dawn is in the same league as other interactive fiction titles like Heavy Rain and Beyond: Two Souls. For the most part you’ll be wandering around the mostly linear environment, looking at various objects and interacting with other characters to further the story. Until Dawn’s flagship feature is the “Butterfly Effect” system which chronicles most of your decisions which will have an impact on the story down the line. There’s also collectibles called Totems which when found show you a glimpse of a possible future event, allowing you to get some insight into how they might unfold. Finally for all the action parts of Until Dawn you’ll be using a pretty standard quick time events system. All in all at a mechanical level Until Dawn is pretty much what you’d expect when it comes to an interactive fiction game.
The walking around and looking at things part is mostly well done (with some issues I’ll discuss later) with interactive objects that are in your character’s field of view being highlighted by a small white glowing orb. This typically means that as long as you do a full 360 of a room you’re likely to find everything in it which is good as I can’t tell you how frustrating it is to try and figure out sometimes in games like this. Until Dawn does reward exploration, meaning that if you think you’re going down a non-obvious section chances are you’ll find something juicy at the end of it. Thankfully the walking speed can be sped up some as well, meaning you’re not going to double your play time just because you wanted to explore a little bit.
Whenever you perform an action or make a certain dialogue choice the screen will explode in a cascade of butterflies, indicating that your choice will impact on future events. This is a more extravagant version Telltale’s “X will remember that” feature with the added benefit that you can go back and review your choices at any point. Unlike most other games though, where decisions that will have major impacts on the story will usually be showcased as such, Until Dawn rarely makes such a distinction. If I’m honest I found that to be a little frustrating as it was hard to tell when what seemed like a minor decision actually had major consequences. In reality though that’s much closer to a real world experience so I can definitely appreciate it for that reason.
The quick time event system works as you’d expect it to, giving you a limited amount of time to respond by pressing the right button or moving the control stick in the right way. It’s broken up every so often by having you make decisions, like taking a safe route vs a quicker one or hiding vs running, which can have similar butterfly effect impacts as dialogue choices do. The one interesting differentiator that Until Dawn has is the “DON’T MOVE” sections which can actually be something of a challenge when your heart is racing and your hands are shaking the controls. So nothing revolutionary here, not that you’d really be expecting that from games in this genre.
Whilst Until Dawn does show an incredible amount of polish in most regards there’s still some rough edges in a few key areas. The collision detection is a bit iffy, being a little too wide at the character’s feet which makes you get stuck on objects that you’d think you could just walk past. This also extends to things your character holds like a burning torch which seem to lack collision detection, allowing you to put your character’s hand through walls. There’s also the performance issues which I noted previously which, whilst not degrading the game into a slideshow, are definitely noticeable. Still for a first crack at a game of this calibre it’s commendable that Supermassive Games was able to put out something with this level of polish, especially on a new platform for them.
Now being someone who’s avoided the horror genre it almost all its incarnations I don’t feel entirely qualified to give an objective view on how good the story is. Certainly it seems to share many of the tropes that you’d associate with a teen horror movie but whether they’re well executed or not is something I’ll have to leave up to the reader. To me it was a predictable narrative, one that attempted to use jump scares and triggered music to try and build tension. Whilst it didn’t bore me to sleep like so many horror movies have done I still wouldn’t recommend it on story alone.
Until Dawn is a great debut title for Supermassive Games on the PlayStation4 showing that Quantic Games isn’t the only developer who can create great interactive fiction. The graphics are what I’ve come to expect from current generation titles, making full use of the grunt available on the platform. Mechanically it plays as you’d expect with only a few rough edges in need of additional polish. The writer’s aversion to horror though means that the story didn’t strike much of a chord although it’s likely to delight horror fans the world over. In summation Until Dawn is a superbly executed game one that both horror fans and interactive fiction junkies can enjoy.
Until Dawn is available on PlayStation4 right now for $78. Total play time was approximately 7 hours.
Before Heavy Rain you’d struggle to find anyone who knew about Quantic Dream and the types of games they create. They were a little ahead of themselves with the concept when they released Fahrenheit back in 2005 being largely ignored by the gamer populace even though it received wide critical acclaim. Since then however they have developed a solid reputation for developing games that dispense with game play in favour of creating a deep, rich story whilst also teasing everyone endlessly with their technology demonstrations. Beyond: Two Souls is their latest release which goes back to their roots in paranormal thrillers done in their signature cinematic style.
On the surface Jodie appears to be just like anyone else but ever since she was born she has been tied to another entity that she only knows as Aiden. For a long time that’s all he was, just a presence that was always there watching over her. However over time he developed the ability to interact with the real world and, like the caged animal he was, he began to lash out at every opportunity. This had caught the attention of the CIA who, of course, were looking to exploit this potential power for their own ends. Like anyone else all Jodie wanted was to be part of the regular world but her attachment to Aiden made sure that would never happen.
Quantic Dream have really outdone themselves with Beyond: Two Souls as it aptly demonstrates what the PlayStation3 is capable of. The graphics are simply phenomenal showing that the 3 years since their previous release have been spent pushing the hardware to its limits. The biggest improvements come from the small things that add on exceptional bits of realism like the way skin looks and moves or the way tears roll down the character’s face. It all runs smoothly as well although that’s mostly due to the restricted nature of most of the environments. It allows for a lot of detail but you’re not going to be play in wide expansive environments that are teaming with NPCs.
Beyond: Two Souls retains Quantic Dream’s signature interactive film style with you spending quite a lot of time being in the back seat to the action that’s happening on screen. The dialogue choice system hasn’t changed dramatically, offering up a variety of options which you can choose from and that will influence how the story progresses. The combat sections have been reworked slightly and puts a little more guesswork into completing the interactions successfully. The addition of the Aiden mechanic adds a completely different perspective to the game and also allows for some pretty novel and interesting game play.
From what I can remember of Heavy Rain you, for the most part, got unlimited time in which to make the decision about which dialogue option you chose. Beyond: Two Souls on the other hand will often begin to fade the choices out after a small period of time, leaving you with only a single option which will be automatically selected for you. I will admit that this helps with pacing as you can sometimes be paralysed by choice but you can sometimes end up regretting taking to long to think about what you wanted to say. Of course this also means that subsequent play throughs could be quite rewarding as even when you get to choose the options you want there are still many others that you’d potentially want to see.
The combat/quick time event system has been changed significantly with the the visual cues being almost completely removed. For combat sequences you’re now instructed to follow Jodie’s motion on screen using the right analogue stick. This does eliminate the majority of the rather immersion breaking pop-ups that alert you to what button you need to press however it also adds a layer of ambiguity to what action you need to perform. It’s relatively forgiving as I often found myself getting things right when I was pretty sure I just mashed the stick in a random direction however I just as often found myself getting it wrong when I was sure I got it right.
There are still times when you’ll be pressing buttons, holding down combinations of them or doing things with the controller that the prompts on screen are telling you to do although they’re usually regulated to the non-action sequences. Its also during these sequences that you’ll go hunting around for white dots which detail something you can interact with which also suffer from the not-so-precise detection method of pointing with the right analogue stick. Whilst I don’t have a better system in mind it does feel like it’s somewhat pointless for some sections.
The biggest deviation away from Quantic Dream’s traditional style is the inclusion of the Aiden mechanic, a disembodied spirit that has the ability to go through walls, throw things around and even kill or possess people should the need arise. For the most part he functions as another puzzle mechanic, allowing the developers to create rather intricate puzzles that require some lateral thinking in order to complete. You’re also given a little bit of choice as to how you play Aiden as you can either make him out to be the benevolent watcher or the dick that attempts to screw with every aspect of Jodie’s life. For the most part the game seems to encourage you to be a dick, making abstaining a torturous exercise.
Aiden also functions as the writer’s get out of jail free card as whilst his powers are initially limited to throwing things around it becomes evident that he’s really some kind of all powerful demi-god who can do pretty much anything he wants. Whilst this allows them to put Jodie in a whole host of situations that would otherwise be somewhat unbelievable it does make you question why some things happen to her and some don’t. Thankfully though Aiden isn’t a complete deus ex machina but it remove a good chunk of believability to the game, even for someone like me who’s able suspend disbelief in aid of a good story.
From a story perspective Quantic Dream has done an amazing job of bringing these characters to life; no small part of which is due to the amazing acting by the Ellen Page and William Dafoe. It says a lot that all the emotions I felt whilst playing came rushing back while I was reviewing my footage for screenshots, my heart aching for the pain they endured. Even though I was satisfied with my initial play through I still feel like there’s another side to this game that I’ve yet to experience due to the wide range of dialogue options available. This means that just like Heavy Rain before it Beyond: Two Souls is a game that will reward subsequent playthroughs. even if the overall story is known.
PLOT SPOILERS BELOW
However I feel like Quantic dream kind of screwed up the relationships in Beyond: Two Souls, specifically with Ryan. Whilst Joide makes it clear that she thinks she might be falling for him initially it appears that he’s not completely interested in her, especially considering how he left after she had a flashback to when she was almost raped. The confession then of how he loves her, and indeed in the final scenes when he continues to say he loves her, seem tacked on and hollow. The other relationships by comparison have deep and rich back stories to them that develop over the course of the game and I actually felt something for them, even if some of them were a little shallow. Its possible that I might have felt more if I had pursued the relationship further and its definitely one of the reasons that I’m considering a second play through.
Beyond: Two Souls reaffirms Quantic Dream’s domination of the cinmeatic game genre, pushing highly interactive gameplay aside in favour of deep and engrossing story that comes alive thanks to the brilliant acting of all the characters. It’s also a return to their roots in fantasy, almost feeling like a spiritual successor to Fahrenheit, and whilst it does suffer a little bit because of this I still find it hard to find fault with it. If you’ve ever played a Quantic Dream game and enjoyed it then you simply can not go past Beyond: Two Souls as it aptly demonstrates just how good they are at building titles like this.
Beyond: Two Souls is available exclusively on PlayStation 3 right now for $78. Total game time was approximately 8 hours with 46% of the achievements unlocked.
I’m an avid gamer and have been ever since my Dad sat me down at a computer at the tender age of 4 and showed me an old classic, Captain Comic. I spent many hours playing through that game and never getting too far into it, only to have my Dad’s friend show up and beat the game for me. I remember being awe struck as a child watching someone play through it so perfectly, when I had struggled for hours and only got half as far.
Fast forward 20 years and gaming has become a huge multi-billion dollar industry. So many games are released every year that no matter what kind of genre or play-style you fit into you’re bound to find something that you enjoy. Hollywood blockbuster budgets are thrown at impressive game titles and production values have skyrocketed, which has allowed game designers to become analogous to movie producers. Thus Cinematic Gaming was born, bringing the choices of a choose your own adventure book together with the immersion of modern interactive games.
My first real introduction into this blend of movie and game was Dreamfall: The Longest Journey. Whilst this is no where near the first foray into this genre it is a great example of what it is capable of. The emphasis is strictly on the characters and their interaction with each other. Every time I sat down to play it I felt drawn into the game and empathised with all of the characters, something which was made even stronger by the fact I could make their decisions for them. The ending left my heart aching, something which I had never experienced with a game before.
After finishing Dreamfall and sharing my experiences with some of my friends I was put onto Fahrenheit by Quantic Dream. This was a much earlier attempt at Cinematic Gaming and whilst the graphics were a tad rough, even for the time of its release, the emphasis again was on the plot and immersion. I quickly got drawn into the interaction between characters, and the use of game mechanics really makes you feel like the character is supposed to. Throw in a dash of naughty sex scenes and you’re onto a winner.
Probably one of the biggest jumps forward in this genre would have to be Mass Effect by Bioware, who are renowned for their games with intricate dialogues and over-arching plot lines. The conversation system implemented in Mass Effect is really second to none. Your responses are displayed just before the other person finishes their part of the conversation, allowing you to choose what you want to say before there’s an awkward pause. Once you’ve figured out which options are where (a “Paragon” response is typically at the top, “Renegade” is at the bottom) you can usually judge how you want to respond to someone before the options even come up. This makes the dialogue very fluid, and doesn’t have the same immersion break like many similar games do when you’re interacting with non-player characters.
So how does the future look for this type of game? Well Quantic Dream is busy working on Heavy Rain which is looking to take the next step in immersion with realistic facial expressions. They put an emphasis on the fact that their characters will show real tears, which is something that is sure to tug on heart strings. Here’s a great trailer:
I’m definitely looking forward to this, and I’ll be sure to give a review of it once I’ve played it through. Don’t expect it to be out quickly though, I like to take my time with things like this 😉