Check the boxes: a futuristic world a La Omikron (alas, without David Bowie), an intriguing Fahrenheit introduction with dozens of scenarios, investigative episodes, the death of the protagonists and elements of the heavy Rain interface, Hollywood actors just like in Beyond. The output turned out to be a kind of collection of 'the best of”. This is not a peaceful LucasArts quest.Īlready from the introductory chapters, the new product is perceived as one big work on mistakes - as if all these years the authors studied reviews of their creations, threw out unsuccessful elements and kept working. Yes, unlike many of the genre’s peers, in Become Human (as in the ever-memorable Heavy Rain), the characters can die, and the plot will move on quietly - though, already in the direction of a bad ending. As before, the player is required to do relatively little: walk around locations, collect or view garbage, talk a lot, pass sophisticated QTE and survive. And all the same old cage I found something to surprise.ĭetroit is an emphatically cinematic adventure that tells the fates of several characters at once. So it was hard to expect anything good from Detroit: Become Human (with its banal beginning). Whatever the game, it’s a beautiful dummy-fascinating at first, and then, closer to the final, falling apart. Omikron: the Nomad Soul, Fahrenheit, Heavy Rain, Beyond: Two Souls… Each of his opus is a story about how a good idea was ruined by a bad performance.

And here’s the problem: the Frenchman has nothing else but naked enthusiasm. Cage’s logic is impeccable: the industry is already littered with shooters like Call of Duty, why not do something original? But to create such masterpieces, you need skill. Unlike other famous teams, the French company has long ceased to disguise itself: since 2005, it has been exclusively engaged in interactive cinema, where there is no place for shootings with terrorists, boss fights, or other distracting nonsense from the narrative.

Few people except David cage and his Studio Quantic Dream. Only a few people have the courage to say this openly.

It seems as if developers want to' shoot “ movies, rather than sculpt conveyor blockbusters. Game designers spy on the Directors ’ techniques, more and more screensavers from year to year, and the traditional gameplay is regularly replaced with spectacular QTE. Video games have long been made with an eye on Hollywood. And who knows how their amazing story will end? Heroes are waiting for incredible adventures, and their paths will cross more than once. Kara, the housekeeper, runs off with her owner’s daughter when he raises his hand to his own child. Connor, a police officer, hunts for 'broken” brothers and tries to find out the reason for their madness. Marcus, the old artist’s Butler, is stranded on the street in an accident. Now, in the darkest hour, the fate of the world depends on the actions of ordinary robots, not people. In a matter of months, humanity is on the verge of war with its greatest creation. But nothing lasts forever: suddenly, in Detroit, one after another, deviants begin to appear-machines that have gained self-awareness. Indispensable helpers and cheap slaves in one person, the' children “ of CyberLife have been performing the most thankless work for years, bearing the humiliation of the Almighty masters. Technology has made another leap, and the achievements of Boston Dynamics are in the past: androids are already among us, their appearance and behavior are barely distinguishable from ordinary people. Now David cage, the author of the interactive thrillers Heavy Rain and Beyond: Two Souls, has decided to present his view on the problems of artificial intelligence. Last year, with the help of NieR: Automata, Taro Yoko tried to get to the truth. And where science is powerless, fiction comes to the fore. Can robots feel? To empathize? To do? Despite years of research, scientists do not give clear answers.

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