Simply swiping to turn book pages is an obvious example, but swiping across to unlock your smart phone feels right.
There are frame-rate issues at times (mostly outdoors), but overall, they don’t really detract from the experience and are infrequent.Īlthough you can choose between traditional and motion controls (I went for traditional, because I’m not a monster), there are some nice uses of the touchpad. Impressively, the character motions are believable, even down to each character having their own walking style. Shadows dance as you explore, which is important as you spend a enormous amount of time with a torch in your right hand. The visual fidelity and sound design is largely responsible for the tension. It’s a gorgeous looking game at times, and the facial animations are some of the best I’ve seen. But the style works, and means that when switching into a QTE moment it doesn’t feel forced, or weird about doing so. It’s not an action game like Resi, but the art direction is such that each area has a fixed camera position, even down to that thing where if you walk off the screen holding “up” and the camera switches, you can end up walking back off to the previous place – though it’s not that bad. The game that constantly cropped up in my head when looking for a comparison, was Resident Evil. There’s heavy symbology use around the butterfly effect, which links into the player choice idea, and here the choices have significant effect – some immediate, some with a longer tail. It doesn’t stray too far from stories that have been attempted elsewhere, but I didn’t telegraph all of the larger narrative beats coming. It all adds to the feeling that Supermassive is trying to make something a bit different. Bizarrely, it’s presented in an episodic form, and like Alan Wake, you’ll get “previously on” vignettes between each acts, even if you haven’t actually stopped playing. Each plays the same, but they all have different mini-dramas going on in their little world. You will switch between them as the story progresses, building relationships between the group. Hitting the pause screen, you can see development between characters, too. In a very Telltale manner, you’ll make decisions worrying whether you are doing what you would do, or what you think the character should do, which means they are well written, generally. That’s quickly gotten under control, however, and soon you’ll be identifying with certain people, and taking a dislike to others. It’s a bit of a shame Supermassive feels the need to be so heavy handed in giving their qualities, rather than letting the script do the work, and the first problem it faces is that (Game of Thrones-style) so many are introduced so quickly, that you’ll feel a little lost for the opening act. You’ve got the complete set: the cool dude, the hipster glasses guy, the bitchy girl with the top grades who hates the attractive girl with the tight jeans (I hate to harp on about it, but man, they’re almost leather trousers levels of tight), and so on.īut they all have redeeming qualities, introduced one-by-one with a scene showing their names and character traits. Returning to the scene of a tragedy one year on to try and put it behind them, emotions are high, and relationships will be tested. Tight fitting jeans for the girls and designer stubble for the boys we’re essentially talking about a complete set of arseholes, or as they’re better known: the youth of today.
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It sounds like a nightmare in itself, really: a group of rich American teenagers, full of sexual tension and the need to be seen as alpha dog.
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