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Heavy Rain
- Thread starter Corny
- Start date
best part.
Adrock-JD
The Journey of a Lifetime
- Joined
- Jul 31, 2009
- Posts
- 5,881
- Reaction score
- 12
- Points
- 38
I think this is the best game PS3 has ever done. 
The prologue. Like you, I couldn't care less about the game.
Maybe they'll throw some of this stuff in for the Gran Turismo 5 racing dudes.
"Before you learn to drive you need to learn your body."
Like one of those old 16mm educational films
You
Your body
and Your control stick
The prologue. Like you, I couldn't care less about the game.
Maybe they'll throw some of this stuff in for the Gran Turismo 5 racing dudes.
"Before you learn to drive you need to learn your body."
Like one of those old 16mm educational films
You
Your body
and Your control stick
easyroad
Porn Star
- Joined
- Feb 28, 2010
- Posts
- 320
- Reaction score
- 1
- Points
- 16
Haha, I played the demo, it's interesting. And I'm a sucker for mysteries involving serial killers so I'll probably play it after my friend finishes his copy.
And wow, the prologue in the actual game is WAY better than in the demo! In it you play as the over-weight private inspector lol...
And wow, the prologue in the actual game is WAY better than in the demo! In it you play as the over-weight private inspector lol...
Drebin
Porn Star
I'm not all that far in the game, but those ARI shades are fucking phenomenal. I so want such a system. I know the FBI has some super secret R&D facility with all kind of crazy inventions. I wonder if they really do have an ARI system. I glued them to my face and never take them off.
CaptainMellow
Sex God
- Joined
- Jan 14, 2006
- Posts
- 947
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- 0
Just read a review for this in The NY Times over the weekend:
By SETH SCHIESEL
February 26, 2010
The big storm has been raging for days. The winds around the eaves make me lonely, melancholy, and yet my guilt forces me forward in search of redemption.
I have probably spent 10,000 hours playing various sorts of electronic games. But no single-player experience has made me as genuinely nervous, unsettled, surprised, emotionally riven and altogether involved as Heavy Rain, a noir murder mystery inspired by film masters like Hitchcock, Kubrick and David Lynch.
Heavy Rain, developed by Quantic Dream in Paris and released this week by Sony for the PlayStation 3, is a brilliantly engaging example of nonlinear storytelling, one that unfolds all around you as a direct, if often obscured and subtle, result of the choices you make and don’t make. Unlike most games, it offers no way to lose, per se. And depending on your point of view, there may be no way to win, either.
In terms of eye-hand coordination or “gamer skills,” Heavy Rain is negligible, even trivial, in its challenge, which will offend twitch fiends. Yet this is no simplistic Choose Your Own Adventure for children. This is a wrenching, often disturbing, almost entirely gripping experience for grown-ups. The easy, intuitive controls should make it accessible to what ought to be Heavy Rain’s audience: adults who want a glimpse of the future of interactive entertainment, a future when characterization, writing and emotional connection are more important than combat mechanics.
Heavy Rain is one of the few games set in an approximation of the real world. The game takes place among the gray mists of a nasty, wet, sodden autumn in the rundown industrial precincts of Philadelphia. (The game doesn’t explicitly reveal the name of the city, but the clues and resemblance are clear.) The Origami Killer has been abducting young boys, who are then found dead, drowned in rainwater.
This story is told through the perspectives of four people: an F.B.I. agent, a journalist, a private investigator and, most important, a parent. Ethan Mars is the happy father of a perfect family, with a beautiful wife and two beatific young sons.
Of course, there would be no game if things stayed perfect. In fact, things go very wrong for Ethan, and Heavy Rain becomes the story of his journey — and yours — to rescue what little he can of his life.
The four main characters that the player controls are the keepers of secrets and demons within their own lives. What exactly happens to them, even whether each lives or dies, is up to you. Heavy Rain was built around a 2,000-page script written by its main creator, David Cage, but as a player you experience only that part of the script that is relevant, as a result of your actions over the roughly 10-hour narrative.
The voice acting itself is uneven. Taken in isolation, the voice performances can sound stilted at times, perhaps because English is not the first language for some of the actors. But the motion-capture work and facial animations are expressive, detailed and impressively emotive. The music and sounds, too, are incredibly important in creating the chilling sense of dread and foreboding that is Heavy Rain’s stock in trade.
The overall presentation draws heavily, even reverentially, from the visual and storytelling vernacular of film. Mr. Cage has clearly gleaned from movies like “Rear Window,” “Eyes Wide Shut” and “Blue Velvet” that a major part of creating intimacy lies in cinematography. Many third-person games (where you see your character on screen rather than inhabiting it from a first-person perspective) are shot from a sort of top-down angle. That view gives the player a more tactical sense of the environment but often does not create a strong sense of immediacy.
Most of Heavy Rain, by contrast, is portrayed from virtual cameras at ground level, at the same height as the characters or even below them. As in most films, you can never quite see an entire room at once, and so you are never quite sure in what direction the action will unfold. And as in films, there are a lot of moving-camera shots from behind in which the player is never quite sure whether the camera is supposed to represent someone skulking or stalking.
There are even moments when the game just lets you rest, as when Ethan sits hunched and morose on the balcony of his seedy motel room, staring off into the rain, conflict and pain drawn all over his body.
In its exploration of the psychology of the sociopath, Heavy Rain owes more than a bit to novelists like Thomas Harris (“The Silence of the Lambs” and “Hannibal”). Perhaps the most interesting element of the story is that the emotional weight of Heavy Rain is almost entirely bound up in Ethan’s sense of responsibility for his sons. For the player, the game hangs on your concern for children. Within Heavy Rain’s considerably bleak landscape, there is even a moving scene in which all you do is change an infant’s diaper, feed her and put her to bed.
These are not the concerns of a stoned slacker in some basement somewhere. And they are not the concerns of children themselves. Mr. Cage has said that Heavy Rain’s story is largely inspired by his own experience as a parent and by his own fears for his children. As both game makers and game players move into middle age and beyond, this is the kind of depth you can hopefully come to expect more often.
No other game in recent memory has forced me to reach for a blanket at 11 a.m. because I am literally shivering in nervous tension. And no single-player game has made me feel as profoundly connected to the outcome of a story I cared about. Mr. Cage and Quantic Dream have put the world on notice that the future of video games may be closer than we thought.
By SETH SCHIESEL
February 26, 2010
The big storm has been raging for days. The winds around the eaves make me lonely, melancholy, and yet my guilt forces me forward in search of redemption.
I have probably spent 10,000 hours playing various sorts of electronic games. But no single-player experience has made me as genuinely nervous, unsettled, surprised, emotionally riven and altogether involved as Heavy Rain, a noir murder mystery inspired by film masters like Hitchcock, Kubrick and David Lynch.
Heavy Rain, developed by Quantic Dream in Paris and released this week by Sony for the PlayStation 3, is a brilliantly engaging example of nonlinear storytelling, one that unfolds all around you as a direct, if often obscured and subtle, result of the choices you make and don’t make. Unlike most games, it offers no way to lose, per se. And depending on your point of view, there may be no way to win, either.
In terms of eye-hand coordination or “gamer skills,” Heavy Rain is negligible, even trivial, in its challenge, which will offend twitch fiends. Yet this is no simplistic Choose Your Own Adventure for children. This is a wrenching, often disturbing, almost entirely gripping experience for grown-ups. The easy, intuitive controls should make it accessible to what ought to be Heavy Rain’s audience: adults who want a glimpse of the future of interactive entertainment, a future when characterization, writing and emotional connection are more important than combat mechanics.
Heavy Rain is one of the few games set in an approximation of the real world. The game takes place among the gray mists of a nasty, wet, sodden autumn in the rundown industrial precincts of Philadelphia. (The game doesn’t explicitly reveal the name of the city, but the clues and resemblance are clear.) The Origami Killer has been abducting young boys, who are then found dead, drowned in rainwater.
This story is told through the perspectives of four people: an F.B.I. agent, a journalist, a private investigator and, most important, a parent. Ethan Mars is the happy father of a perfect family, with a beautiful wife and two beatific young sons.
Of course, there would be no game if things stayed perfect. In fact, things go very wrong for Ethan, and Heavy Rain becomes the story of his journey — and yours — to rescue what little he can of his life.
The four main characters that the player controls are the keepers of secrets and demons within their own lives. What exactly happens to them, even whether each lives or dies, is up to you. Heavy Rain was built around a 2,000-page script written by its main creator, David Cage, but as a player you experience only that part of the script that is relevant, as a result of your actions over the roughly 10-hour narrative.
The voice acting itself is uneven. Taken in isolation, the voice performances can sound stilted at times, perhaps because English is not the first language for some of the actors. But the motion-capture work and facial animations are expressive, detailed and impressively emotive. The music and sounds, too, are incredibly important in creating the chilling sense of dread and foreboding that is Heavy Rain’s stock in trade.
The overall presentation draws heavily, even reverentially, from the visual and storytelling vernacular of film. Mr. Cage has clearly gleaned from movies like “Rear Window,” “Eyes Wide Shut” and “Blue Velvet” that a major part of creating intimacy lies in cinematography. Many third-person games (where you see your character on screen rather than inhabiting it from a first-person perspective) are shot from a sort of top-down angle. That view gives the player a more tactical sense of the environment but often does not create a strong sense of immediacy.
Most of Heavy Rain, by contrast, is portrayed from virtual cameras at ground level, at the same height as the characters or even below them. As in most films, you can never quite see an entire room at once, and so you are never quite sure in what direction the action will unfold. And as in films, there are a lot of moving-camera shots from behind in which the player is never quite sure whether the camera is supposed to represent someone skulking or stalking.
There are even moments when the game just lets you rest, as when Ethan sits hunched and morose on the balcony of his seedy motel room, staring off into the rain, conflict and pain drawn all over his body.
In its exploration of the psychology of the sociopath, Heavy Rain owes more than a bit to novelists like Thomas Harris (“The Silence of the Lambs” and “Hannibal”). Perhaps the most interesting element of the story is that the emotional weight of Heavy Rain is almost entirely bound up in Ethan’s sense of responsibility for his sons. For the player, the game hangs on your concern for children. Within Heavy Rain’s considerably bleak landscape, there is even a moving scene in which all you do is change an infant’s diaper, feed her and put her to bed.
These are not the concerns of a stoned slacker in some basement somewhere. And they are not the concerns of children themselves. Mr. Cage has said that Heavy Rain’s story is largely inspired by his own experience as a parent and by his own fears for his children. As both game makers and game players move into middle age and beyond, this is the kind of depth you can hopefully come to expect more often.
No other game in recent memory has forced me to reach for a blanket at 11 a.m. because I am literally shivering in nervous tension. And no single-player game has made me feel as profoundly connected to the outcome of a story I cared about. Mr. Cage and Quantic Dream have put the world on notice that the future of video games may be closer than we thought.
YeahWhatever
JUB Addict
Once you play the game, you'll realize that quick time events are essential to the gameplay and style of Heavy Rain. The action sequences are deeply choreographed, and playing with a traditional control scheme would really take away from the experience. Yeah, you do some pretty mundane things like shaking orange juice cartons and changing poopy diapers (oops, spoiler alert!), but they hardly detract from the game.
And if anyone is interested in seeing all of the possible endings (and trophies), check out this really good guide (needless to say, spoilers abound):
http://www.ps3trophies.org/forum/heavy-rain/39493-heavy-rain-trophy-guide-road-map.html
I'm almost completely done w/ the game until the DLC comes out.