Beyond: Two Souls

[Gość _Milan_]

@_Milan_

 

uwaga spoilery!

 

 

Nie probowalem wracac do pokoju.

Scena z umierajaca matka byla dosyc dziwna(tutaj czułem jakby coś nie zostało dopowiedziane do końca albo za szybko minęła ta cała sytuacja), ale nie nazwałbym jej babolem.

A akcja z wyjsciem, no nie wiem jakoś mnie nie raziła - to tu jedynie ta sytuacja już tam pod wodą co przejmowało się tego chińczyka - to inni oczywiście nie zauważyli że ci co idą to nie skośni ale to tak jak napisałem : małe skazy na diamencie

 

 

 

 

 

no tych skaz jest mnóstwo w każdym epizodzie, ale jak twierdzisz ze nie przeszkadzaja, to gratuluje funu z  gry ;]

a co z

wolnym chodzeniem,

otchłania wokół pustyni podczas jazdy na koniu,

niezrozumiałą sceną dlaczego babka przemówiła tylko do niej,

straszna animacją tuesday podczas rodzenia,

ucieczka na motocyklu z  ktorego nie mozna spasc,

dretwa scena imprezy u kolezanki ( te dialogi),

niewypuszczaniem Jodie z  pokoju poki nie wezmie wszystkich zdjec , rzeczy i kosmetykow, łazenie z  predkoscia zolwia, ryk jodie, i szukanie kolejnego zdjecia po mieszkaniu ;D.

 

 

[bart-blank 10]

Z tego co piszesz, to widzę że gra kompletnie Ci się nie podobała. Ja grając nie szukałem wad, raczej coraz bardziej się wkręcałem.

 

Dałem się porwać jak dawno żadna gra mnie nie wciągnęła tak ( a w życiu przewaliłem tego tony ) ta gra to

bajka sci-fi

U mnie nr 1 na równi z FEZ.

[Gość _Milan_]

Szukac a  dostrzegac to co innego.

[Vigor 22]

brzmisz milan jakbys sie nie spodziewal, ze bedziesz gral w interaktywny film.

[Gość _Milan_]

No własnie nie jest interaktywny.

 

Gra robi łache i pozwala Ci wciskac klawisze w rytm akcji. Jak nie nadazysz to... jak mowi Cage, w mojej grze nie ma napisu Game Over.

Edytowane 8 października 2013 przez _Milan_

[Vigor 22]

masz chyba na mysli to co niektore recki wytykaja, ze gracz nie ma duzego wplywu na fabule. ci kolesie robia gre bardziej zblizona do filmu niz do gry, wiec sila rzeczy robia liniowa rzecz.

[Figaro 8 275]

Ja właśnie skończyłem Beyonda, podtrzymuję swoją opinię - gra niesamowita.

 

Myślę, że jak ktoś się wkręci w fabułę i klimat to wszelkie błędy wybaczy i o nich zapomni.

 

ciekawe jaka by to panowała atmosfera gdybyś to Ty miał grę wcześniej, a nie Milan

 

 

chyba nawet Shuhei Yoshidzie z Sony niezbyt podpasowała ta gra xD

 

 

Shuhei Yoshida ‏@yosp 5h

 

...so I visited David at QD's office in Paris, shared my honest feedback with Beyond, reassured how much I'm excited with his next project.

Edytowane 8 października 2013 przez Figaro

[Paliodor 1 817]

Recka Edge:

 

Beyond: Two Souls review

 

 

 

Comments 4

Edge Staff at 04:00pm October 8 2013

 

 

Given the extent to which games lean on the language of Hollywood, it’s a surprise that the ’80s action montage sequence isn’t borrowed more often. Quantic Dream leans on cinematic underpinnings more heavily than most – something that’s made abundantly clear again in Beyond: Two Souls, which is displayed not in 16:9 format but a bordered, filmic 2.35:1. But amid the QTE prompts and stick flicks, it’s pleasing to see the montage used creatively as a training element in the tutorial. Here, protagonist Jodie Holmes, played by Ellen Page, is put through CIA training that introduces you to the game’s mechanics. That’s right: mechanics. While this is clearly a Quantic Dream production, there’s evidence that the studio no longer wants to be working in another medium.

To a relative extent, anyway. In her CIA getup, Holmes can move from cover to cover, but only between preordained points, and movement is automatic. She can fire a gun, but there’s no aiming involved, just a prompted button tap to draw a pistol and another to fire. We traverse monkey bars by holding up on the left stick, press a button for a midway chin-up, then yank the DualShock downwards to return to terra firma. And when we cut to Holmes in the classroom, we press and hold buttons to solve a complex equation. An unseen teacher offers praise and the student protagonist sits back, smiling with satisfaction. We don’t.

As in ’80s action movies, things improve once the punching starts. There are no button prompts at all here. The action slows down and the screen turns black-and-white as you flick the right stick in the direction of Holmes’ movement. This retains the QTE’s input method yet fixes its oldest problem: success requires you to pay attention to the action onscreen, rather than ignore it and focus on button prompts. Quick camera cuts turn what would have been a leftward kick into a rightward one, meaning Quantic Dream’s directorial ambition becomes a gameplay mechanic in itself.

There are traditional QTEs aplenty, of course, but there are further improvements elsewhere. Simple interactions – getting up from a chair, say, or opening a door – are signalled with a small white blob, and you then flick the right stick in the right direction relative to Holmes’ position. And as Aiden, the ghostlike entity to which she has been bound since birth, you have full control, moving around the environment in firstperson perspective using both sticks. Interactive objects are denoted by a blue sphere; press and hold L1 to lock on and two purple blobs appear onscreen. If they’re close together, pull them apart; if they’re far apart, push them together. These interactions form the core of Aiden’s moveset, blasting blockages out of the way, opening closed doors, and knocking objects over to distract NPCs. Enemies surrounded in a red glow can be killed; orange ones can be possessed and moved around.

Our ghostly aide can also heal wounds, a mechanic introduced late in the training montage when Holmes pulls a muscle. And by guiding a wispy trail from a body or object to her head, Aiden can help Holmes see into the past, discovering a cause of death, perhaps, or why a rusty sword lies amid the rubble of a Navajo settlement.

Aiden may be the source of greater agency and freedom of movement than we’ve come to expect from a Quantic Dream game, but this unseen entity is far from the star of the show. David Cage’s ambition is to increase emotion in games, and the weight of that sits squarely on Holmes’ shoulders. Ellen Page gives a fine and, yes, emotive performance. As LA Noire proved, the trick to wringing believable in-game portrayals from big-name talent is to stop sticking actors in a voiceover booth with a script and start performance capturing the whole thing. Facial animation here is perhaps even better than in Team Bondi’s police procedural: every wrinkled nose and furrowed brow is believable, bordering on photorealistic.

The most common facial tic, however, is a trembling bottom lip. There’s certainly narrative justification for all of Holmes’ blubbing – every use of Aiden leaves her with involuntary tears running down her cheeks, and her path to CIA stardom proves far from pleasant – but we suspect technical achievement may also have been a factor. Beyond’s engine sets a new standard for moist eyes, and Quantic Dream has no qualms about using it to the fullest. Performance capture has also resulted in some excellent animation, with every new environment and mental state bringing a new walk cycle. A bored toddler kicking her heels, an elegant grown-up sashaying around a cocktail party, a scared young woman gingerly stepping over shards of shattered glass: it’s remarkable stuff until you break the spell by doing something the animation system doesn’t want you to. Holmes, like her Heavy Rain forebears, sports the turning circle of a Routemaster bus.

It’s the chapters that focus on Holmes’ younger years that come closest to achieving the developer’s ambitions. She’s shackled to Aiden from birth, snatched from her mother’s arms and passed on to foster parents who drop her when the paranormal activity becomes too much to bear. As a puffy-faced child, she’s handed off to a government facility and watched over by Nathan Dawkins, played by Willem Dafoe. Adjusting to life on the wrong side of a two-way mirror is a lot to ask of anyone, let alone a six-year-old with a mischievous paranormal partner. Later she’ll struggle to fit in at a birthday party, and react with impotent teenage fury after Dawkins refuses to let her go out with her friends. The game’s action may come when she’s enlisted by the CIA and her burden becomes a military asset, but her early days are the most emotional.

This poses a pacing problem, the supposed solution to which is a warped chronology. The game’s loading screen displays a timeline, the opening prologue positioned all the way to the right and the bulk of the game jumping around Holmes’ past. And it’s been quite a life, taking her from moonlit woodland to suburban idyll, and from Navajo desert to snowbound city streets. Yet while the shuffled timeline makes for a satisfying flow of action beats and sensitive drama, there’s little narrative justification for such skittish regard for chronology, and some transitions feel arbitrary. The payoff to one action sequence, in which you escape from a burning building, sees you transported back to Holmes’ first night in Dawkins’ care, which doesn’t break up the pace so much as bring it to a shuddering halt. Yet even this is preferable to when chronological service is resumed, and Beyond turns into the lukewarm sci-fi hokum you’ve spent the preceding six or so hours dreading. The cast’s true intentions are revealed with few surprises, and you must make one of the few truly important choices that affect the game’s ending.

Choice is, as in Heavy Rain, arguably Beyond’s core mechanic, but your decisions are seldom meaningful. At the aforementioned birthday party, you’ll decide whether or not to kiss a boy, and whether to exact revenge after your fellow guests turn on you with childish malevolence. Later you’ll decide whether Aiden will ruin a date or play ghostly Cupid. Dialogue options are simple roleplay, with none of the repercussions, genuine or implied, of The Walking Dead.

Heavy Rain made up for its teeth-brushing and rape-escaping stick flicks with a central mystery and the knowledge that a botched QTE could have fatal ramifications. Beyond, by contrast, is a game that is almost impossible to fail. Mess up most combat QTEs and Holmes will take the hit before putting a foe down automatically. Lose a fight and your assailants will be scared off by a police siren. Sometimes failure means capture, and a brief interlude before you escape and are put back on the narrative track. Some of the bigger action sequences will simply end early, and failure may affect the story – there are two dozen endings this time, the branches better hidden by simple virtue of there being no threat of protagonist death. Deliberately fluffing your inputs in the hope of triggering a narrative shift that may not become apparent for several hours doesn’t, however, make for much of a videogame.

What a shame given the extent to which Beyond reflects its developer’s recognition of its past mistakes. This is a far more systemically diverse game than Heavy Rain, and its story is certainly more believably told through Holmes, Dafoe and a fine supporting cast. Yet this is a game almost entirely bereft of tension, one in which failure goes largely unpunished and is almost always inconsequential. There is emotion here, but it’s felt passively, as spectator instead of player. And at the game’s climax, when Quantic Dream falls back on old habits and has you guide Holmes through a supernatural storm by mashing buttons on demand, it’s hard to feel anything at all. The studio’s commendable dream – of a marriage of mechanics and storytelling that takes videogames to new emotional heights – remains out of reach, and the rivers of photorealistic tears aren’t quite enough to make up for it.

5

 

 

 

Recka Destructoid:

 

Show a little soul

It's hard to divorce David Cage, the public figure, from the games Quantic Dream makes. He is, after all, a man who put himself in Indigo Prophecy's tutorial, immortalized as the movie director he's always dreamed of being. The self-styled auteur fiercely believes in being the one man with the one vision, and gladly takes credit for his games' success in doing so. 

The auteur theory is all well and good, but it only really works out for a piece of art if the auteur in question is good enough to actually be an auteur. I've believed for years that Cage, while an undoubtedly talented man, is simply not a strong enough creator to be an unchallenged writer and director. If Beyond: Two Souls does anything right, it's prove that belief. 

It demonstrates, beyond doubt, that Hollywood actors, cutting edge-visual technology, and a decent budget mean nothing, if it's all being piled onto a ship with an unsuitable captain. 

Beyond: Two Souls (PS3)
Developer: Quantic Dream
Publisher: Sony Computer Entertainment
Released: October 8, 2013
MSRP: $59.99

Beyond: Two Souls, is about a girl called Jodie, played by Ellen Page, which is important to note as Jodie is also every character Ellen Page is typecast into playing. She screams, and is sarcastic, and does that half-smile thing, and that's more or less all there is to her personality. She also has more personality than almost every character combined, including the criminally misused Willem Dafoe, crammed as he is into the role of Jodie's dreary paranormal doctor/caretaker, Nathan Dawkins. 

Dawkins has charge of Jodie because she possesses dangerous powers -- or rather, the invisible creature inextricably linked to her does. Jodie is bound to an otherworldly being called Aiden, over which she has limited control. He is unwieldy, fiercely protective of her, and is the reason Jodie spends most of her life in a laboratory, under constant surveillance. 

While Beyond has a cast of archetypal and terminally uninteresting characters, it has to be said the writing is noticeably better than it was in Heavy Rain. Dialog is slightly more believable, scenes are less awkward, and there are fewer glaring plot holes or embarrassing pseudoscience. However, the story is presented awfully, in a nonlinear fashion contrived to evoke the movies of Godard, Altman, or Tarantino.

There's nothing wrong with the use of disrupted narrative, but it's a technique that requires more care than Beyond even comes to close to providing. One moment, Jodie's a child in a secret lab, the next she's a homeless adult, then a teenager, then a child again, then a member of the CIA. The narrative breaks seem arbitrary and deliver nothing of value to the actual story. Disjointed and only vaguely connected sequences occur without adequate lead-in, and regularly deliver moments that would have had far greater impact had they been presented in a linear story, where the appropriate amount of pacing and build could be achieved. Instead, we're supposed to deeply care about characters who have been barely introduced, while following at least three stories, and a handful of non sequiturs, that have very little to do with each other. 

Even worse, the application of the nonlinear narrative comes off as a lazy excuse to put Jodie in situations without having to adequately explain them, which gives the entire game a fractured, pointless atmosphere. Indeed, there seems no real point at all in having broken up the story, other than to mimic those films Quantic Dream perpetually crawls in the shadow of. As such, an attempt to look clever has come across as little more than clumsy pretentiousness. 

This is to say nothing of Beyond's total lack of character development. Its frequent time hopping does little to help the fact that there's nobody to root for, and even less to remember. One character, for example, is introduced in an early scene as a cold, unlikable hardass, right before we skip to Jodie falling in love with him years later. She tells us -- through Aiden -- that he's so funny, and great to be around, but we never see any evidence of this. The best he becomes is a generic love interest with no distinguishing features. If we have to be told what a character's personality is, without the character ever exhibiting a single trait pertaining to its verbal description, the writing has failed completely. 

Admittedly, there are some decent scenes, but those are mostly thanks to tried and tested narrative tropes seen dozens of times before. The scene in which Jodie is bullied at a party before Aiden wreaks violent revenge is stylishly done, but it's nothing Carrie didn't do better. Likewise, Jodie's barely meaningful adventure in the Navajo Desert is Beyond's best sequence of events, but it leans heavily on well-worn and practically gauche Native American stereotypes to make it work. 

I've managed to go a long while before mentioning any gameplay, and one gets the feeling Quantic Dream would like it that way. Essentially following in Heavy Rain's footsteps, Beyond is another spiritual successor to Dragon's Lair, with even less agency and some awkward controls thrown in for good measure. As Jodie, interactions are restricted mostly to walking around, opening doors, engaging in restrictive conversations, and indulging in the occasional quick-time-event sequence. For much of this, the player's input is almost entirely optional. QTE action sequences can be completed without needing to even pick up the controller, as Jodie will survive all encounters if you fail every single button prompt. She'll get hurt a bit, and the story might have a slight temporary diversion, but that's about it. Even dialog, if you don't choose a response, will eventually play itself out. 

As with Heavy Rain, the potential for thrilling chase sequences and action scenes is mercilessly dashed against the rocks in favor of an experience so arrogant, it cannot bear to throw up a barrier between you and its allegedly brilliant story. Once you cotton on to the fact that your personal input is almost meaningless, and the impact of your inaction is frivolous, your only real incentive for "playing" is to humor the game, and it does indeed feel like you're patronizing it when you decide to play along with the fantasy of player agency. Nowhere is this more typified than one sequence in which I could choose to speak up in order to stop something bad happening to another character ... and I didn't say a word. It didn't really matter if the bad thing happened (there was only a cosmetic change) and I simply didn't care about the bland, superficial plot vehicle whose lifeless idea of life was in my hands. 

There's no tension, no sense of investment, no pleasure to be derived from getting personally involved. Just a plodding, methodical march towards the game's warbling conclusion. 

At almost any time, you can switch to Aiden with a press of the Triangle button, but like with everything in this game, any sense of choice and freedom is a mere illusion. As Aiden, you may move through walls, knock objects around, and possess or choke characters, but his skills all amount to one big waste of potential. You only need to be Aiden when the game specifically tells you (or forces you) to be him, and you only interact with the tiny handful of objects available -- all helpfully labeled with bright blue dots. If, for example, Jodie is under siege by a SWAT Team, you can only possess one or two of the arbitrarily predetermined targets, as each scene has a specific way in which it wants to be played. This, of course, opens up a few plot holes, when you start wondering why Aiden only seems to possess certain characters, and why Aiden can only knock over a few objects, and seems to forget these useful powers when the plot decides to invent a sense of threat out of whole cloth. 

It's also not very enjoyable to play as Aiden, despite what promise he has. The floating controls are awkward, sluggish, and disorienting, while the way in which you interact with the world -- holding down buttons and moving the analog sticks about -- is ungainly and alienating. It shouldn't feel boring or bumbling to be a wrathful poltergeist, but Aiden manages to be both. In fact, he may not even be the wrathful vandal he's portrayed as. After five minutes in the steering wheel, one could reasonably assume he's just drunk. 

There's really not much else to say about the way the game plays. Whatever it tries to throw at you -- whether you're avoiding beastly entities from the cringingly named Infraworld, taking cover to shoot at terrorists because of reasons, or delivering a baby in an abandoned building, you're really just performing the same somber actions, pulling analog sticks and pressing buttons when commanded like some Pavlovian experiment gone wrong. This is not a game to be played, it's an instructional video to be followed, in order to further unlock a story that isn't very good, a story spat at the viewer in shattered, tattered pieces. 

Visually, Two Souls is okay to look at. Yes, the uncanny valley faces are impressive on a technical level, but the frequent texture pop-in and robotic bodily animations swiftly defecate on the magic. The game is prone to brief freezing, and loading times are fairly dreadful. Environments are bland, and overall the visual quality fails to stand out in this day and age. Still, if you're curious to know what Ellen Page would look like with every hairstyle ever, you'll find yourself adequately sated. 

At least the soundtrack is beautiful, and it does a good job of making certain scenes more compelling than they'd otherwise be, while the acting is a huge step up from Heavy Rain. Ellen Page and Willem Dafoe do fantastically, given the mediocrity they have to work with, while the supporting cast is fairly solid too. It's a shame much of the dialog still makes me want to cover my eyes and scrunch my eyes up tight, but at least the delivery is convincing enough. 

For all the complaints that can be leveled at Beyond -- and they can be leveled in feckless abundance -- the overwhelming problem with it is that it's just plain boring. Like a sociopath, Beyond: Two Souls knows how to act like it has a heart, while providing nothing of the emotional depth required to connect with an audience. Its characters can smile, and cry, and tell us they're feeling all of these feelings, but their paper-thin presentation and the frequent narrative dead ends prevent any of their pantomime from becoming too convincing.

And that's all Beyond: Two Souls is -- a pantomime. A childish play at being a meaningful journey, a vapid illusion of passion and poignancy. Nothing but a pantomime. 

A perishingly dull pantomime. 

THE VERDICT - Beyond: Two Souls

Reviewed by Jim Sterling

5 /10

Mediocre: An exercise in apathy, neither Solid nor Liquid. Not exactly bad, but not very good either. Just a bit 'meh,' really. Check out more reviews or the Destructoid score guide.

 

[bart-blank 10]

Dla mnie duzym plusem sa szybkie loadingi tez i nie mieli mi ciagle naped jak to mialo miejsce w TLOU.

[Ins 5 816]

Wypozyczyłem sobie Beyonda na tydzień. Zobacze czy faktycznie jest to jeszcze gorsze od Heavy Raina. Tym razem przynajmniej grosza nie wydam

[Nemesis 1 271]

Mi tam się jednak ta gra podoba. Wiadomo, są ograniczenia i nie jest to typowa gra akcji ale mimo wszystko jest na tyle zjawiskowa, że trzeba ją sprawdzić. Pamiętam analogiczną sytuację z RE6 sprzed roku. Po za graniu nie miałem wątpliwości co do słuszności wydanych pieniędzy. Nie kupię Beyond bo jeszcze mam Heavy Rain do zaliczenia ale na pewno nie pominę tej gry. 

 

Te ogromne rozbieżności w ocenach tylko podsycają atmosferę. 

[sprutus 3]

Dobrze ze wychodza takie "gry" i niech dalej wychodza raz na jakiś czas,poprostu coś innego.Szklaneczka czegoś mocniejszego,ciemny pokój,dzwiek ustawiony i można sie wkrecic.Grafika momentami powoduje naprawde opad szczeny i zdziwienie co ten sprzet robi  Dostałem to czego sie dokładnie  spodziewałem,"przejde" dwa razy zeby obadac rozne motywy i dalej w świat za kilka dni. Kij z tego ze totalny samograj,wazne ze dostarcza rozrywki, a o to chyba chodzi.

Edytowane 10 października 2013 przez sprutus

[rodi84 50]

Pograłem godzinkę i jest dobrze. Grafika to najwyższa półka, jeżeli chodzi o tę generację sprzętu. Szczególnie dobrze wyglądają wszelakie tekstury i twarze bohaterów, o animacji już nie wspomnę. Jodie jest jedną z najlepiej animowanych postaci w grach wideo.

Gramy razem z żoną, przez co fun płynący z zabawy wydaje się o wiele większy. Początkowo wkurzało mnie to, że akcja co chwilę przeskakuje o klika lat do przodu, aby za chwile przenieść nas ponownie w młodzieńcze lata Jodie. Ale mimo wszystko da się do tego przyzwyczaić.

[_daras_ 725]

No proszę, nawet nie wiedziałem że grę można przejść w dwie osoby na dwa pady, wydaje się że tytuł tym zyska. Od dziś cioram z dziewczyną.

[BoryzPL 254]

jak wyglada gra we dwoch?

[Gość _Milan_]

[Gość suteq]

Zamiast trollować i pisać głupie posty lepiej byłoby odpowiedzieć normalnie? Bo jak na razie to wypowiedzi innych nie pokrywają się z Twoimi.

 

Gra we dwóch polega na tym, że jedna osoba kieruje innym bohaterem niż druga, więc jak jedna gra to druga się przygląda, gdy bohater się zmienia, wtedy następuje zmiana ról. 

[rodi84 50]

I właśnie zabawa we dwóch przynosi największa fraidę, szczególnie tej osobie, która wciela się w Aidena:)

[Komar 8]

W sumie dziwię się osobom kupującym ten twór, spokojnie będzie można to "przejść" (i to za darmo) na YouTubie. Interakcja jest tu praktycznie żadna.

[_daras_ 725]

Wczoraj graliśmy we dwójkę 1,5h i cóż powiem, wciąga jak bagno! Bardzo jestem ciekaw co będzie potem. Dziewczyna gra lamersko i od czasu do czasu (ostatnio np. dojeżdżała mi samochodami w GTAV na określone miejsce a ja w tym czasie siedziałem na forum ) także wiadomo, że gra na niższym poziomie trudności. Już wiemy że przejdziemy grę drugi raz zamieniając się postaciami i wybierając inne opcje, więc replayability nie jest "zerowe" jak to niektórzy twierdzą (w tym David Cage )

Milan- daj sobie już spokój co

[Ins 5 816]

Skonczone. Podobalo mi sie Zasluga to zapewne tematyki (sci-fi, supernatural itp) i pewnie dlatego przymykam oko na mnostwo glupot jakie znajduja sie w tym tytule. Spodobaloby mi sie jeszcze bardziej gdyby nie to, ze wybory nie maja znaczenia, gameplay jest zalosnie meczacy, a krotkowlosa Jodie powoduje u mnie odruch wymiotny ;P

 

8-/10

 

Edytowane 11 października 2013 przez Ins

[Nemesis 1 271]

No widzisz. A miało być tak źle i niedobrze. Beyond daje radę, nie wiem czemu ludzie spisują taki tytuł na straty sugerując się wyłącznie gorszymi notami i faktem, że to jednak bardziej film a nie typowa gra. Dlatego jest zjawiskowa. 

Edytowane 11 października 2013 przez Nemesis

[Ins 5 816]

Ja spisywalem na straty tylko i wylacznie z powodu beznadziejnie glupiego Heavy Raina.

[Gość Kasias]

Za mną 3/4 gry, więc w skrócie: jest znacznie lepiej niż w kupie grafomańskiego łajna, jakim było Heavy Rain, ale do "ojapyerdole!" daleka droga. Interaktywny film to jest, więc nad kwestiami "gameplayowymi" nie będę się pastwił - jest zdecydowanie bardziej action niż adventure i do napakowanej super mocami i innym diabelstwem historyjki pasuje jak ulał. Zaskoczyły mnie ponadto dwie rzeczy, jedna na plus, a druga na minus. Dobrym pomysłem jest epizodyczny charakter tego dziełka, ale to, co często mnie wnerwia, to sterowanie - np. akcje z "cover systemem" to straszna lipa. Mimo że gra to poza jednym wyjątkiem (pustynia) rynna QTE, nie sposób nie zachwycić się stroną graficzną, która na wyżyny wznosi się podczas scen "leśnych" i "zimowych". Jutro skończę i będę miał już pełne zdanie na temat tego, co w tym wszystkim najważniejsze, czyli fabuły, choć już teraz mogę powiedzieć, że ogólnie rzecz biorąc Two Souls jest dobre. Ale na pewno nie jest warte 200 zł z hakiem...

Edytowane 11 października 2013 przez Kasias

[Gość aphromo]

Beyond to nierówna gra.

Niektóre epizody wciągają na maxa, a inne nużą. Graficznie to PS3.5, o gameplayu każdy mówił więc to pominę. Brak wpływu wyborów na zakończenie skutkuje dobrą historią, ale odbiera dużo z interaktywności tytułu. Naprawdę, gdyby było czuć że każde QTE i każdy sukces/porażka coś zmieni realnie to gra byłaby 9+ dla mnie, tak to 8/10.