Quantic Dream Studio has regained its strength. Following the sorrowful story of Beyond: Two Souls, the creators discover the proper balance of emotions in the narrative in Detroit: Become Human, providing us with a wide range of impressions. Sometimes we’re terrified, sometimes we’re sad, and occasionally the action sequences make us nervous. It’s nearly flawless, with the only visible shortcoming being the occasionally shaky camera control. The action takes place in the near future. Humanity has discovered a new workforce that is easy to utilize responsibly. Personal assistants, restoration workers, and other physical activities are performed by Androids. However, this does not imply that life is idyllic for humans. Because some businesses prefer to use machines rather than hire full-time workers, unemployment rises. As artificial intelligence surprisingly advances, social animosity and scorn for electronic slaves remain strong.
Some androids become self-aware and begin to reject their masters. Does this sound like a common android story? It most emphatically is. The game is reminiscent to “Blade Runner”, “Westworld”, or “Ghost in the Shell”. Each of these books gives its unique viewpoint and point of view on the subject of artificial intelligence breaking free from the human-made prison. Detroit is no exception. Although the tale appears to be “cliché” at times, the performances, great music, and unique scene arrangements immerse us totally in the story presented, and we do not want to leave this intriguing world even after the end credits. In the portrayed universe, Become Human is an excellent work in terms of attention to detail. We get to see Detroit from every angle conceivable by playing as various seemingly unconnected persons. We visit affluent homes, opulent corporate buildings, streets in diverse districts where the impact of androids on daily life can be observed, and unclean, sad, and forgotten places that are also a result of automation and unemployment. We are thrilled by some detail, an interesting poster, the interaction of NPCs, or just the aesthetic backdrop at each stage. In the action moments, the controls are beautifully balanced. The button icons that appear are either incredibly prominent or appear for a brief duration to provide greater excitement. We are not overwhelmed by thousands of symbols while we slowly explore the globe, and we relate with the game’s dramatic aspect.
The joy of discovery, however, is occasionally marred by the camera work, which is either static and in accordance with the game director’s vision, or entirely within our control when we activate the area scanning mode for a little duration. Jumping between these two camera settings might be inconvenient at times, especially when we need to accomplish something quickly. Previous David Cage games have a similar issue, and it appears that eliminating it totally is tough if we care about the correct “filminess.” When it comes to the interactive part of the film, it is worth noting not just the choice of performers donating their voices, but also how nicely it was replicated in virtual reality. The story’s quality varies depending on the character. One narrative appears to be cliched, yet another, despite its apparent predictability, might surprise you with its unconventional approach. The decisions of the players have a significant impact on the overall perception. Safe decisions are rarely interesting, but any variation from the ordinary can broaden the plot and provide moments that we would otherwise miss. Even the choice of lodging might result in a thriller rather than an action scenario. We are moved by the narrative and wish to explore with different options. However, it appears odd to summarize the decisions after each scene. To promote revisiting the chapters, choice trees should only emerge after the game has finished. The present answer following a dramatic incident reminds us how many alternative possibilities we have to pick from, which minimizes the emotional overtones. Despite this, it is tough to deny that Quantic Dream is capable of creating unique storylines that will keep you thinking long after you switch off the TV. We hypothesize about being, artificial intelligence’s right to freedom, and whether we deserve to be termed “human.”
Heavy Rain is somewhat longer than Detroit: Become Human. Completing the adventure once, without replays, takes around 13 hours – roughly the time required to watch a complete season of a good television show. This poignant narrative about androids is well worth reading. Camera or control issues do not dominate the masterfully presented narrative, which is sometimes poignant and sometimes makes us leap out of our seats. Detroit is a fantastic interactive narrative that may equally delight others who simply watch us play.