Despite the abolition of privileges on the night of August 4, 1789, some unjust privileges still exist. Take 12 Minutes for example: since its comeback in great shape in the heart of E3 2019, it’s an understatement to say that the entire editorial staff of Gameblog has been impatient with the idea of finally putting their hands on it. As with everything in life, sometimes you just need to be in the right place at the right time. Come on, no hard feelings, guys.
For those who have managed the feat of passing through the well-oiled communication of the title, remember that 12 minutes takes the form of a narrative thriller that largely borrows its mechanics from the point and click genre. As in the theater, the plot opens with a seemingly banal evening, since an average guy goes home to find his wife, without suspecting the dramatic turn that events will quickly take.
The first trailers did not make a secret of it: Luis Antonio’s game tells from the ceiling of a small apartment at the end of the disturbed day of a couple, who unmindfully sees an individual disembarking, pretending to be the police, who come quickly to put our dulcine in irons. Dirty story. As in a play by the Poquelin guy, the protagonists have (for a time) no other description than that of their pure function: husband, wife and policeman, therefore, thus form a narrative trio of unsuspected richness, which will reveal itself as the loops enchanter, and lift the veil on a dark past.
With 12 minutes, it’s a bit like Port-Salut: the events are broken down through an evolving loop of a hard eponymous name, but it is still necessary to discover the springs to show curiosity, and a lot of ingenuity. Because each failure, everything starts again: whether he died of strangulation, electrocution or a good old wound with a knife, our heroic husband starts his evening all over again the second he walks in his doorstep. The opportunity to change the course of things for the better, and perhaps for the worse …
And we dance to get by
If the adventure has largely been able to capitalize on the prestigious trio of actors who breathe life into this trio with rarely identifiable faces, it is the whole sound atmosphere of the title that shines through its concern for detail. The screaming realistic play of Daisy Ridley, Willem Dafoe and James McAvoy not only benefits from flawless adaptability to the plot’s many ramified events, but also benefits from a palette of filters that offer ever more clues to the plot. spatialization of the characters, but also allows you to play … the ear. Even if you want to know certain dialogues by heart? All done.
The sound effects, which also show a meticulous care, sound after a few tries like a melody of which we already know the tempo, and which allows to evolve at least for a few minutes in known terrain, before trying new things, sometimes blind man, let’s be honest. Between the thick conversations of the neighbors, the arrival of this damn thunderstorm (which gives a precise indication of the few minutes already elapsed, the sound certainly plays a decisive role in your progress. The music is obviously not to be outdone, despite its discretion: if it manifests as a jingle, or in the digse of 12 minutes, it is also to signal the imminence of certain markers, and to increase the pressure as the loop once again nears its conclusion. Who would have thought that the harmless sound of an elevator could generate so much stress?
Form the intestable school Jonathan Blow, Luis Antonio (artist on The Witness, excuse the little) has fun with his narrative thriller let the players experiment as they wish, but relies above all on their accumulated experience. 12 minutes is also a point and click, and it offers this title a good number of interactions with and between the objects of the decoration, but also with the duo of interlocutors in place: first tones, we explore the initially restricted framework of this intrigue encapsulates, just to familiarize ourselves with our new playground. Everything is there, before our eyes, but we still have to understand what is at stake. Fortunately, even the most distracted will end well, thanks to the skilfully crafted play of lights and colors, by looking away and letting their curiosity dictate the movements. The game even gives us a final flower by automatically listing certain lines of dialogue once the subject is discovered, whether or not we pay attention to it.
The interface is however not the most practical on console – the fault of a menu that disappears too quickly while systematically placing its cursor in first position -, but we have fun between two technical knockouts interacting with the most common items. banal in a western apartment of our time, without necessarily understanding the role they could play in the plot. …