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It's a thump to the face of acting brilliance and delivery that is 99 per cent on target.
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There's that je ne sais quoi about the game, apt from the French-based studio. It was all worth it, even the slow stuff. And yet once you're done with the game - we've seen it out in six different ways - all is forgiven because the credits whip you through the rollercoaster ride of Jodie's life story, replete with so many captivating moments. Those small eye-off-the-ball moments should have been smoothed out.īut that's direction: and Cage still has a little to learn. There's also the occasional odd sense of time where night suddenly becomes day right in front of your eyes in some scenes, which looks sloppy and is a brief distraction from a game where realism is the goal. Not every location feels to have earned its place either - the insertion of a Navajo desert scene feels thin, like an afterthought with no defined place within the story as a whole. Some in-game sections would also benefit from a trim: beautiful and painstakingly produced though all the game's locations are, we don't need to walk down a road for a whole minute before something happens. In that instance, as one example of a few, the interplay feels like a hard slam on the brakes - elsewhere in the game the shift from scene to scene, through time and place, has a far greater deftness of touch. While we've seen plenty of games swap between 9mm pistols and knives before, Beyond: Two Souls does so in a whole other context: we're talking shooting in warn-torn Somalia in one scene followed by the juxtaposition of chopping up the vegetables for tonight's dinner from some years before. For all his brilliance, Cage needs an editor who's not afraid of the digital cutting floor. Directorial diligenceīut in the same breath there are some poor pacing issues. There are moments of brilliance where the Hans Zimmer produced soundtrack will tug at the heartstrings, or where Page's on-screen excellence feels real to the point of hairs on the back of your neck standing up. Its testament to David Cage - the game's writer, director and Quantic Dream founder - and his ability to surf the movie-game divide. The studio has come a long way since then in many respects, but the crux of Beyond: Two Souls' gameplay rests on similar ideas: you respond to on-screen prompts, with multiple button presses and analogue stick directions interspersed with the occasional gyroscope-based PS3 controller motion. Quantic Dream isn't new to the genre that we affectionately called "interactive drama" back when its earlier title, Heavy Rain, was released to the world. We've been surfing the divide between life and beyond to see whether we're in for a box office bomb or treat beyond epic Hollywood-sized proportions. The game is gorgeous to look at, visually engaging from the off.īut with big screen actors, visuals and ambitions clear, is Beyond: Two Souls setting itself up for one giant fall? Off the back of Heavy Rain - the studio's 2009 title that polarised opinion in a way few other titles have - and in light of the advancing shadow of the next-generation consoles, this is a game with a lot of weight on its shoulders. These aren't just voiceovers, these actors truly embody their respective roles in a captivating way, while every last drop of the Playstation 3's graphical juice renders them in lifelike fashion.
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Quantic Dream has crafted an invested, emotive story above all else, then delivered it on a scale reminiscent of a Hollywood movie by embellishing its on-screen characters with a true A-list cast.Įllen Page stars as Jodie, the lead who has a unique tie to a supernatural entity named Aiden, alongside Willem Defoe who lends his distinct voice and facial features to Nathan Dawkings, the government scientist tasked with studying Jodie's condition.
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(Pocket-lint) - Beyond: Two Souls isn't your average game.