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Beyond: Two souls, cinema becomes playable

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<p>When the names of the actors who participated come out on the cover of a video game, I always get some doubts. In this case I refer to <strong>Beyond: Two souls</strong>, title of the <em>Quantic Dream</em> coming out on October 9th for <strong>Playstation 3</strong>. Imagine the opposite of GTA: a strongly guided game, in which you are forced to make decisions choosing wisely and on time but always from narrow roses, for where you are driving <em>Ellen Page</em> or <em>Willem Defoe</em> (yes, exactly: the actors of X-Men and Spiderman).</p><div class=

Being a game that travels on tracks, the developer team was able to grant absolutely spectacular graphic wastes creating a pleasant film effect. Hence the possibility of even representing the protagonists through motion capture through famous faces. The result is a graphic masterpiece in which the characters are extremely credible, real and exciting, in which one becomes attached to the protagonist and suffers with her as with a living person.

The plot follows the events of Jodie and the extent to which you have the privilege and the burden of being able to communicate: Aiden, an ethereal pretty lively co-star (I would even say aggressive and touchy). The story, as with many great films, the core ofBeyond: Two Souls. Jodie was locked up in a still small institution, precisely because of Aiden who, in her own way, protected her from her father, an extremely severe individual. Her powers compel her to guinea pig childhood and difficult adolescence. Finally Jodie he arrives at the CIA where he is trained to become a war machine. At some point to escape the control of the secret services and finds herself being hunted.

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<p>You will live with the protagonist through a fifteen-year narrative arc, lived for non-linear sections through childhood, adolescence and adult let of <em>Jodie</em>. With this expedient, the character of the protagonist is progressively defined, marked by adolescent encounters and rebellions and linked to her power to see beyond (beyond precisely). The supporting lectoplasma has limited but substantial possibilities of interaction with objects or characters until it can take possession of an enemy to induce him to commit suicide or kill. Furthermore <em>Jodie</em> can see what it sees <em>Aiden</em>. The player will alternate the use of the two by deciding, with the spectrum, whether to follow the directions of <em>Jodie</em> or behave more freely with consequences often unpredictable and rather harmful. From what can be seen by looking at the presentations and demonstrative gameplay of the videogame house, already the producer of <strong>Heavy Rain</strong> is <strong>Fahrenheit</strong>, the game looks similar to Heavy Rain. I don't know if you've ever played it but basically it consisted of a title where you only had the opportunity to walk and look around, combined with an infinity of small possible interactions with the environment to break the monotony. To this he alternated intense quick time events in which the player found himself catapulted, very exciting and engaging (it was not uncommon to get angry and also quite a lot for too much phlegm or impulsiveness with which he reacted).</p>
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<p>If you've ever played or seen <strong>Heavy Rain</strong> you will remember the sudden appearances of the superimposed keys which required a good dose of timing. Well, one of the news of the recent title that will no longer be there: the scenes will slow down allowing the intuitive player to understand how to interact with the elements using technology <strong>PlayStation Move</strong>. The biggest difference is the moment it is used <em>Aiden</em>, because the momentary freedom will distinguish the gameplay from that of the old title. But when the protagonist is used, she falls back into a narrative corridor without doors or turns, in a sequence of defined paths in which the small decisions made seem irrelevant, artificial and even stupid.</p>
<p>In <strong>Beyond: Two souls</strong> it seems that they have not deviated much from the model that I would call videogame cinema (or cinematographic game if you prefer). But having large guided excerpts, however spectacular not exciting: like jumping already in the dark knowing that you fall from 15 centimeters.</p>
<p>This is expected to be a highly controversial title which will clearly divide the criticism among avant-garde supporters of the <em>storytelling</em> extreme and pure players. That is, on the one hand, those who like to see, be surprised and identify with a character, to whom I immediately recommend this game and, on the other, those who do not resist the cumbersome bond of a story in which they are always escorted by the authors. Irreconcilable positions, as easy to see considering the extremes: the most cinematic moments of the videogame in general are the cutscenes in which by definition the game stops and the opposite extreme the game extreme fps as <strong>Counter Strike</strong> in which the plot is reset. Fugitive gameplay and intense emotions or action and freedom but without a soul? I say with the Latin sages: in medio stat virtus.</p>