Heavy Rain

A wonderful story from a man whose directorial approach deserves recognition. Undoubtedly, this is a "seven" film from the world of video games, but it has a rather annoying drawback.

Despite the fact that David Cage created very good characters with distinctive features, problems and characters, he sometimes messes up with their development and disclosure. For example, a reporter. A character with a really interesting problem that she encounters with one of the heroes. But why she continues to help him, trusts him and almost wants to fuck with him is not shown at all! And this character is a walking example of how Cage is trying to trade explanation and emotion for plot dynamics. Although not even that. He doesn't see what needs to be added to the scene. Here, as an example, we can cite the finale, where they can again show us the problem of the Reporter from the beginning, reminding us that they stupidly put a bolt on this problem. They showed the dad meeting his son for the first time and without showing a SINGLE STRONG EMOTION, having absolute neutrality to everything. Where is the investigator, in my version, who is dealing drugs non-stop and does not have any clear outcome of this decision at all. In other words, Cage created an excellent story, but he manages to work out the lines of the characters, and not the plot, with variable quality, which, in general, still remains good.

I actually don’t have many complaints about the gameplay. I’m rather a little disappointed that so many decisions are made without the right to choose, but the dynamics of events and the logic of Quick-Times were rather pleasantly pleasing. I still remember the moment when I had to press and hold 7 buttons in the correct sequence, while justifying it in the plot with the state of the hero. A trifle, but an excellent example of the fact that quick-times were made not to give a damn and with an eye to the events on the screen.

Is the project worth being called “something worth buying a console for”? If the genre arouses even minimal interest - definitely. Objectively speaking, if she had been allowed to make decisions more often and had worked better on some (!) emotional scenes and their motivations, I would have given the highest score from the bottom of my heart. And so, gritting my teeth because the death of the villain did not evoke emotions, that the possible sex scene seemed to me completely inappropriate and unjustified, that not all the endings of the character lines were made of the same quality. But damn, a lot of things have been done really cool.

5 out of 5

To hell with you. There is nothing better than an interactive movie, and Fahrenheit is ruined by the ending.

#kotomnenie

P.s. Characters' thoughts are almost always useless. Either they voice “ahhh, I have to follow him” or what you already understood from the setting of the moment or dialogue. So Karamyshev’s claim to localize these moments is exaggerated. You don’t have to listen to thoughts at all and lose almost nothing.

LOCALIZATION: in short, it’s quite a job. Of course, you can hear when they sometimes underplay, but one character and in the original shame is poorly voiced at times, so the overall impression is good. Well, you don’t have to listen to their thoughts, which sometimes sound ridiculously careless. But here’s the magic: if the voices even remotely resemble the original and the original voice acting of all the screams, moans and other things is preserved, the perception of localization becomes many times better. When you hear the original groans and our good localization of a strong moment, it’s quite tolerable to close your eyes to underplaying, because there are almost no moments of complete hackwork in the localization. And I’ll say separately that not everything is smooth in the localization either, so it wasn’t a shame at all to sit with the voice acting.