State of Mind is like a set of DVD boxes that started last week and is determined to crawl to the end of – because damn, it has invested time now, and it demands some resolution. It will always take you towards your credits. But once they have shot, the new narrative adventure of Daedalic Entertainment will not last long in memory.
Maybe you'll remember that crucial revelation, which occurred about halfway through a career time that & # 39; I will occupy a handful of nights. Perhaps a surprising sight on a utopian urban landscape, as seen from a high-rise window. But most of the hits of the story, the motivations of the characters and the reason why he went through all this? Probably not.
State of Mind is an experience that passionate fans of Telltale Games and Quantic Dream productions will undoubtedly get the most out of. A walk-and-talk & em up in the third person, with a small degree of exploration of the open world to stretch your waypoint chasing, your story is almost completely linear, with decisions that the various characters controlled by the player make having next to no impact on what happens.
Until the end of the proceedings, that is, when some decisions must be made, literally, of life or death. That these come out of nowhere is just one of the repeated shocks of the game, another comes when the bearded character in the art of the box, Richard Nolan, reveals more about himself. That is, he may hate being in his company long before the end.
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The ever-changing humor of the game is qualified to some extent by the fact that you assume the role of several very different people during a story that tries to twist transhumanism with family crises, the evolution of artificial intelligence and robotics with the mental tensions of sex workers, and corporate greed with terrorist propaganda. Controlling how the previous activity of this person relates to the current objective of another can be a challenge, although more due to the tedium of witnessing so much generic science fiction game, than to the nuanced bonds that unite the main players of the game.  State of Mind is absolutely at its best, narratively, when it focuses on the smallest things: a homeless, hopeless girl, brought from the cold and rainy streets of New York and who has the opportunity to begin new; a child that warrior parents have put in all directions, whose explosive egos have derailed any chance they have of playing with happy families. In these scenes, the divisive aesthetics of the pure polygon (and I lean towards the disgusted side of that division) that dominates almost vanishes, allowing the emotion to be related. However, when that is not the case, it is like watching a dystopian soap opera inside the engine of the series Virtua Model 1 of SEGA.
Atmospheric music and a couple of half-decent vocal performances go a long way to anchor the player to the mood of the Berlin rain of 2048. Not that you'll always be here, with the game changing locations and years with an exciting abandonment.
The most important of these is Rivia's own Geralt, Doug Cockle, as Richard, but Alexa Kahn, who provided additional voices in Horizon Zero Dawn, is great as Lydia, a character whose deception later gives way to redemption ; and Ronan Summers, previously heard in Mass Effect: Andromeda, gives the alter ego character of Richard's VR world more personality than he deserves a heartless digital construction.
Yes, he read it well: virtual reality world. Part of the time in State of Mind, you will not be in the real world at all. The chapters of Adam's story, which comprise a good part of the game in general, are played in City5, a great metropolis that is within almighty servers. It's the bright, bright yin of the gritty, grimy yang of Berlin, though New York also looks pretty dirty here as well. And will it ever stop raining in the near future?
Adam's relationship with Richard is crucial to the central history of State of Mind, and if you do not connect with it, you will not feel specially invested in any character, its final destiny, or those who depend on them . Personally, I ended up rooting more for Adam than for Richard, once the latter had shown his true colors, and as such, was frozen by the outcome that developed. (For what it's worth, that relationship has been explained in the previews, but I will not spoil it here, since its revelation is a massive moment in the game.)
When you're not walking and talking in State of Mind, you're solving extraordinarily simple riddles: combine three pieces of evidence, change the sections of this wobbling image until they create a room, and so on, or piloting fiddly drones through some stealthy sections. In one, at the last point of the game there are even filming sections that strangely remember (and you may need Google here) the ground-changing game from Ground Zero: Texas, from the Mega CD. To go back to my previous point about State of Mind's tonal inconsistency, these interludes are out of place, they spend too much time, and none of them is entertaining.
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 There are no glitches or note errors to worry about here. Sometimes, animations seem to skip a couple of frames, and cuts from scene to scene can be a bit too nimble, conversations begin before the screen has completely vanished from black. But, in reality, State of Mind is not a game in which a bit of control weirdness will damage your progress. There are no timers, there is never a need for quick reactions. There is no risk, whatever the assumption is at stake.
State of Mind clearly has the ambition to burn, and buried in the disorder of its multifaceted history is something worth clinging to, a simpler and more direct idea that could be a great science fiction short. Their images are a design option that should be respected, but stiff faces and lanky limbs often steal key scenes of significant dramatic weight. With only a minor players agency, its repetition value is restricted to trophy hunting. It's not a disaster, but State of Mind offers only disappointing returns and forgetfulness about any significant promise prior to launch.
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