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Home / Technology / "Detroit: Get Human" review – The Washington Post

"Detroit: Get Human" review – The Washington Post

Detroit: becoming human
Developed by: Quantic Dream
Published by: Sony Interactive Entertainment [19659007] Available from: PlayStation 4

For decades, technologists have been demanding that we imagine a time when technology becomes self-confident and takes responsibility for self-improvement. According to the survey I conducted in "Detroit: Become Human," a majority of players with early access believe that such an event occurs, and if a humiliating phenomenon occurred, human society would change forever. Our ethics, morals and laws must live up to the new status quo. "Detroit: Become Human" provides an easily digestible interpretation of what it might look like to experience the singularity of in which technology is from something we use to an entity with which we must negotiate

] the stories of three androids: Connor, Marcus and Kara. All are built by CyberLife, the world's first trillion dollar company. CyberLife's groundbreaking success relies on the widespread use of androids for commercial and private purposes. One consequence of this is that unemployment is well over thirty percent when people – from construction workers to university – are expelled. It is inevitable that each of the three playable characters feels a kind of human resentment. Early on, Marcus encounters a group of angry demonstrators who blame the machines for making a living while Kara serves an unemployed, irascible alcoholic.

(Courtesy of Sony Interactive Entertainment.)

Although androids are programmed to obey humans, a minority has bypassed their built-in boundaries and incited their masters. In 2038, when the game starts, Connor is sent by CyberLife to show the police why some androids have become "deviants". Hank, the human partner to whom Connor is assigned, is another drunk, irascible man. This cop straight from the central casting – do not try to laugh when he screams at his boss dramatically – does not hide his displeasure at having a partner who bleeds synthetic blue blood. (It appears that android blood color has been color coded to show that they are our natural know-it-ers, they are blue blood cells, understood?)

"Detroit: Become Man" was written and directed by David Cage. The French game developer became known in the video game world for "Heavy Rain" (2010). At the time of its release, the game was praised by many critics for its attempt to supplement the repertoire of experiences presented in large budget video games. (I remember leading a character through a series of everyday tasks that seemed like a nice addition to the usual "kill or kill" scenario.) "Heavy Rain" was associated with a certain narrative style of gameplay, the fast-paced events or on-screen keystrokes. In addition, the branching history allowed players to move through the game, with or without all the main characters, giving the game a sense of choice and an incentive to play it again.

I have never studied the heavy rain control setup. The abundance of on-screen prompts distanced me from the experience, turning the controller in my hands – usually an afterthought – into a burden that should be considered on a regular basis. In addition, my initial interest in his story was quickly lost after too many scenes reminded me of such a television. Nevertheless, I liked Cage's short film " Kara" (2013), which tells the story of a newly-originated android who surprises a quality assurance technician with his self-perception. David Houghton wrote for GamesRadar + that "Kara" is obviously guilty of Björk's music video "Everything is full of love". "Kara" is notable for how quickly it prevents the viewer from seeing Kara as an object, as a sexy new piece of technique, empathetic to a person. Although it was clear from his early trailers that "Detroit" seemed to channel the energies of "Kara", I can not say that I was particularly tense to get my hands on it.

Thinking About the Confidence of the Game Short-term events, I was less enthusiastic than how characters radiate their motives. For example, when an artist, a junkie, or a coarse-looking middle-aged man shows up, you can be sure that everyone behaves exactly as you expect – the artist will argue against conformity, the junkie will try to steal something, and The middle-aged man will show sadistic behavior. This lack of subtle extends to the entire story of the game, which draws parallels between the plight of the androids and the civil rights movement. I moaned when I saw that androids were forced to stand in the back of a public bus; I rolled my eyes when a black android conor confessed that he had attacked his owner because he no longer wanted to be a slave; and when it came time to decide to lead a group of liberated androids in a peaceful fight against armed struggle to gain their rights, I was ready for seeing this fork in the road seen from a mile away.

For all my problems with "Detroit," I can not say that it was difficult for me to see through to the end. The designers would do well to cut back and forth between the three main characters and make sure the events chugged on a good clip. Like high-quality junk food, the game was not exactly fulfilling, but it was a bangeable experience.

Christopher Byrd is a Brooklyn-based writer. His work has appeared in the New York Times Book Review, the New Yorker and elsewhere. Follow him on Twitter @Chris_Byrd .

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