This is a testament to the breadth of Quantic Dream's rambling stories: I felt terribly guilty at the time of the credits after my second Detroit game: Becoming human, I had already played against my personal moral compass to test how far I could push the exploration of history. of the morality of artificial intelligence. It was the exact opposite of my first, mostly peaceful race, and Detroit forced my nastiness to a surprising degree, leaving a trail of those who had survived in my wake. And even if he never seems to know when a fairly hard exposure dialogue alone is enough, Detroit: Being Human manages to be an often moving melodrama, which bends to your choices with significant results.

Each of these parts lasted about 10 hours and during this time, the rhythm of Detroit is rarely slowed down, thanks to its skilful juggling that alternates between three androids characters distributed in several chapters: Kara, a cleaning lady who has to take care of a little girl named Alice Connor; a prototype police model to collect the "deviant" and Markus androids; a caregiver model who believes that androids should share equal rights with humans.

The trio of performances is excellent. Bryan Dechart adores Connor through his boundless innocence, which is a great failure against the swirling dervish of his cynical partner, Clancy Brown's Lieutenant Hank Anderson. Valorie Curry brings a quiet strength to Kara and excels in selling her love for her pupil, Alice, who is probably the least charismatic video game kid to ever have existed. Jesse Williams uses all the heat of his Gray's Anatomy reverie as Markus and is never inimitable, no matter how you choose to play it.

Depending on your choices, you can change their personality and the tone of their individual stories. In my first part, for example, the relationship between a humble Connor and Anderson, who hated the Android, was like a comedy full of friends. In the second, I let Connor's ambitions take over and his story was of a different kind.

Although Markus seems to remain fundamentally endearing, no matter what you do (unlike Connor, who can really be portrayed as a hero or villain), there is a fierce struggle in him that raises some of the most moral dilemmas. interesting from Detroit. Kara's story seems less supple but she is the most silent and intimate, which contrasts well with the racing and explosions you can choose from the other two stories.

For the most part, the secondary characters adapt to the way you choose to play, but sometimes there are failures. When I played as "nice" Connor, for example, Anderson was far too aggressive towards him to be credible. When I played Connor "nasty", even "indifferent", his fury was much more sensible. At one point, Markus had a lover very brutally, and I felt I had missed a slow burn somewhere. You will notice that your choices make you think of a stronger story.

I found the three main Detroit characters extremely interesting, which meant putting them in compromising situations - or worse, killing them - was a real scare. It's a testament to the writing and performance that I found to make decisions "just to see what would happen," smashing up.

The backbone of Detroit's history - that is, the one that is relatively fixed despite the choices you make around it - is a huge and ambitious amusement that asks Phillip K. Dick the question to know if androids dream of having electric sheep to a higher degree. In doing so, however, he suffers from a multitude of terrain holes. Marcus seems to acquire magical android powers when it suits him. Hank is impressed when Connor solves the most basic of mysteries; and a twist makes absolutely no sense if you go back to that story after you finish.

These were remarkable (and often quite funny), but they were not quarrels for me. Detroit is daring and stupid, but he has a real heart. There were enough moments of calm and tenderness to keep me emotionally invested, and the stakes were high enough - especially in the last act - to keep me excited.

With that in mind, there were a lot of awkward exposures and dialogues that I was willing to forgive, as one could do by watching a fun B movie. But occasionally, Detroit ignores the standard writing rule of "show, do not tell" to such an extent that I was removed from the story. The bad guys throw up monologues that state the Detroit themes in capital letters. (There's a compartment for androids on public transport, in case you did not know what Detroit wanted to do here.) Some secondary characters, like the torn police chief of Hank and Lucy, inexplicably wise and mystical, are the subject of a strong snapshot. their roles are without real development of the character.

With the remarkable performance capture technology and performance that Quantic Dream has at its disposal, there is no real reason for such heaviness. Nor do I think Detroit is incapable of subtlety; some scenarios are unusual and profound. But I wish that his ideas have more space to breathe before being trampled by someone who explains the meaning to us.

The characters are certainly capable of nonverbal expressiveness. The level of detail you can see on their faces is amazing. facial hair, imperfections, freckles, and moles are rendered in stunning detail, especially 4K checkerboard on the PS4 Pro. The animation is just as good; While Kara and Alice were hurrying through the rain on a freezing night, bent over and miserable, I could have seen two humans in the side streets.

The world here feels very real too, built with a sense of history. This is a miserable and dark version of a future Detroit where androids are so ubiquitous that they are outdated information, sold in chain stores at the cost of a discounted mobile phone. Small details on the sideline tell the story of an exploding technology bubble, such as basements filled to the brim with abandoned models or a street artist announcing that he was playing "human music".

Although the road traveled in the world of Detroit is as linear as the previous Quantic games, I had the impression to have more time to enjoy these beautifully detailed environments. One of my favorite sequences was chasing graffiti tags to find a particular place, which turned out to be a strange and silent excursion into a forgotten corner of the city. There's also a wonderful scene in an abandoned amusement park that's still creaky enough for me to get an idea of ​​what it might have been like in the past.

The way you interact with Detroit environments has not changed much from the usual Quantic Dream formula, which is unobtrusive and works in most cases. Action sequences are usually performed using programmed buttons, thumb movements, and occasional motion controls, which evoke the action you take on a case-by-case basis. An android detection mode allows you to analyze your environment to rebuild crime scenes. It's a lot of fun to go back and forth quickly in these environments, as is a new opportunity to "pre-build" scenarios before you run them. I wish I could play with this last ability more than I could, in fact.

Like Beyond: Two Souls Before, Detroit: Becoming Human is fighting to justify its multiple fight scenes with significant interactivity. Clicking on the buttons at the right time while struggling with an angry android encourages a feeling of welcome participation in the fight, but you must ruin everything catastrophically to fail. I understand that making the fight an appropriate challenge may introduce an impression of trial and immersive error, but I wanted the stakes to be a bit higher after "winning" each fight without really trying. Why make them interactive at all if the input seems so meaningless?

Of course, your way of playing in Detroit depends mainly on your choices. Even though the backbone of a story can not be broken, which can sometimes be frustrating when it forces you to prevent yourself from getting too far off the beaten track, I found that its ramification path was multiple and deep. Quantic Dream did well to make this multitude of paths transparent through the flowcharts presented at the end of each chapter, showing you how it could have been different if you made another choice, which would make you play new.

All alternative choices do not lead to a radically different story, but some will. Sometimes this could lead to the same result, but in a surprisingly new way. Sometimes it could change your relationship with another character and unlock a path that was not there before. Sometimes this can lead to death, whether it is a secondary character or a group of the central trio (they can all die at various times in Detroit), or a sequence of dramatic actions at unexpected consequences. The comparison of purposes, not only between my first and second part but also with other players, was astounding, especially when I assumed that everyone's story had been completed in the same way as the mine and that I had discovered that no one had had it.

For me, it's the biggest draw in Detroit. A scenario is not really enough to see what it has to offer, and the characters and construction of the world are interesting enough that it was a pleasure to come back to see what I had missed in scenarios of a complexity misleading.


Detroit: BECOME HUMAN is an extremely poignant interactive sci-fi drama where your choices can have a bigger and more satisfying impact on events than in most games of this type. Although I wish his story was treated with a softer touch, especially given the subtlety that can be conveyed by his technology and performance, his well-written and the well-performed central trio was vital enough for me to s in danger and a sense of victory when they triumphed. More importantly, Detroit offers a multitude of seamless branch paths that encourage other passes, and choices have a permanence that increases the stakes.

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