Games of 2010: Heavy Rain
Out with the old, in with the nuance.
Heavy Rain was going to be huge. Hyped by years of teaser trailers and credulous preview articles, the game was pitched as a revolutionary vision before it was even released.
Given that build-up, it took a brass pair for David Cage to begin his game this way: A dude wakes up, brushes his teeth, maybe takes a couple slugs of orange juice, and waits for his kids to come home.
Talk about adjusting players' expectations. The prosaic scenes of suburban family life are a pointed opening statement of Heavy Rain's aims. It isn't about revolutionising the form or maximising technical capabilities (Sony's delusional "Only possible on PlayStation!!!!" bluster notwithstanding). It's about asking players to connect with ordinary characters in a lasting way.
Trying to tell an interesting story on a relatable scale isn't exactly a novel ambition, but novelty is overrated. As I consider what I want to remember from gaming in 2010, I'm more compelled by the down-to-earth earnestness of Heavy Rain than the whole stinking pile of Move/Kinect/3D tech fetishism.
Heavy Rain began as the story of a man and his magical sunglasses.
Before things get too serious, let's all admit this much: The game can be pretty silly. As I wiggled the PS3 controller back and forth to brush Ethan Mars' teeth, it's not like I stroked my chin and mused, "Ah, what a stirring comment on the mundanity of human existence." No, I thought, "I bet I look as stupid as I feel right now."
Likewise, the infamous mall scene where Ethan loses track of his son Jason, world's stupidest kid, is no gem of modern drama. (Totally worth it, though, because at least we got a funny parody Flash game and YouTube music video out of the deal.)
Heavy Rain makes for an easy punchline because it's so devoid of guile. It asks players to apply photojournalist Madison Paige's mascara by lovingly, oh-so-gently manoeuvring the left analog, and it does so without irony. The game honestly believes this is a worthwhile use of your time.
You want dreary? Oh, this game brings the dreary.
And in the end, it is, which is Cage's triumph. All those little beats of decision and forced input come together as pencil strokes in the game's sketch of four remarkably full-bodied characters.
There is precious insight to be gained in seemingly banal moments, like the one at the drugstore where retired cop Scott Shelby picks up an asthma inhaler from the back shelf. Playing as Shelby, you use some basic controller moves to make him grab the inhaler, but it's not like I felt that much more connected to the man's soul because I pushed a few buttons on the controller and he moved his arm. Superficial kineticism is not the point of these interactions.
The real artistry is that these bits of nominal input compel players to pause and observe the act at hand. Cage uses controller prompts like a cinematographer uses close-ups, to highlight details that the audience might otherwise pass over.
With Shelby in the drugstore, the controller-aided close-up made me think about the inhaler. Asthma is usually diagnosed in children, and Shelby's in middle age, so this is probably a burden he's carried since he was a kid. Let your gaze drift to his worn face during this scene, and it’s evident that asthma probably isn't the only thing that has weighed on him for a long time. He's a man accustomed to carrying a heavy load with a visage of grim indifference.
In short, the inhaler exchange adds a new layer to Shelby's obsession with solving the Origami Killer case - it's a detail that pays off for those who treat it as more than a standard "quick-time" event. (And given how mundane the button-pressing is on its own merits, the natural instinct is to look for something more.)
Even that mall scene has a great moment tucked in there amid the "Jason!"-yelping awkwardness. When Jason Mars wanders off to his eventual doom, father Ethan's first move isn't to run after his star-crossed spawn, or to yell for help. Instead Ethan frantically pats around for his wallet so he can pay a clown for the balloon they just bought - then he tries to find his child.
Not every moment is subtle.
The wallet-hunting takes a while, and as I pushed the analog stick left, right, and up to unearth Ethan's billfold, I thought, why isn't he chasing after Jason already?
That's the reaction Cage wants us to have, because Ethan would surely ask himself the same question in the ensuing years after Jason's death: Why did I care about a goddamn mall clown? Why did I waste those all-important seconds settling up for a $2 balloon?
It's a banal act made potent by the ensuing tragedy and Ethan's subsequent self-torture. The reality is that Ethan is human; he panicked. This answer is purposely unsatisfying for the character and player. Cage brings us into the same emotional plane.
Everyone together now: "JASON!"
That's how Heavy Rain's low-stakes decisions inform and provide relief for the more intense choices that crop up at major junctures in the story. If every scene were as charged as Ethan mutilating himself to please a kidnapper, or FBI profiler Norman Jayden fighting off narcotics withdrawal during a tense questioning, the game would come off as pulp.
More to the point, Heavy Rain's quiet stretches reflect a belief that characters are formed as much by their tiny moves as they are by bold strokes. That's an honest, wise assessment of human nature.
Is Heavy Rain going to change the face of gaming? Probably not. Few will try to replicate its nuanced touch, and fewer will succeed. Cage's rich, personal masterpiece did prove, though, that console games are more versatile storytellers than the industry tends to give them credit for. If not a revolution, it was at least a surprise, and that's a rare enough feat in itself.
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Comments (57) Latest comment 1 year ago
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One of THE games of 2010? Absolutely. One of the BEST games of 2010? Maybe for you, but not for me.
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So many scenes were just embarassingly written (the mall had me laughing out loud, not really an emotion they were going for here..) and the characters look completely lifeless, so...
bad luck.
Maybe with LA Noire technology and some competent writer, some similar game in the future could be actually good.
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Sure, there were plot holes and some silliness, but the atmosphere and characters were realised brilliantly. The music score was fantastic.
I hadn't played anything like this before, and when I finished the game, I lamented the fact I wouldn't again for a long time. Shooters, racers, platformers are two a penny, but this was something different, and I applaud the developers for it.
More please.
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The controls were odd, occasionally doing pretty much the exact opposite of what you wanted. And the acting/story did frequently go OTT or a tad hammy. But there were lots of parts that were genuinely fantastic IMO. ( The mad doctor and the self mutilation spring to mind)
It was also just so bloody refreshing to play a new IP that wasn't a facking FPS.
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Heavy Rain is my GOTY. Finished it in a single stretch because I was so engrossed.
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The "reveal" was harder to overlook because it raised more questions than it answered. But overall it was a fantastic experience that had me invested in the lives of its characters in a way that few other games have.
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Yep, I read the same deliberate spoiler on this site by that bellend and to say I wished him an agonisingly slow death is an understatement. What a c**t!
Great game but press X to Jason was a bit laughable.
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Yes some bits were a little strangely written, but overall the experience was great, and it felt different to the normal games that are usually around.
GOTY, maybe not (only got AC2 Brotherhood today
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Heavy Rain is a testament of an artist who tries to do something with a medium that hasn't been done all to much before, and mostly succeeds. This is a huge step forwards from Fahrenheit and I hope Cage can take a similar step for his next game. I think then we could have the 'Citizen Kane' of gaming (that movie came half a century after the invention of film, remember)
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it's unfortunate, because I think that hyperbole contributes to the unnecessarily Marmite viewpoints. It's a perfectly good game, no more, no less.
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yes, me too, plus I've still got the flu and the only companion I've got until about 2pm is Demon's Souls and it hates me.
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Its like a demanding girlfriend - you give her lots and she gives you very little in return, but its so worth it
I lovedHR, one of my fave games of the year, perhaps not my best, that goes to the aforementioned Demons Souls, but it is very close.
Amazed to see an article go up on Christmas Day, mind. Hope everyone is having a nice one
/stealth post from his new ipod touch, while daughter is playing with her stuff - now i can browse EG from the toilet
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I enjoyed Heavy Rain a lot, it's flawed but still a very good game. For every cheesy "JASON" moment or naff sex scene, there was a great scene like the station nightmare or most of the bits with Scott.
If Cage's next game is as big a jump in quality as Heavy Rain was to Fahrenheit (which started out good until it went batsh*t mental), then we should be in for a treat
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I've heard they play songs or some shit too.. :/
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haha this tickled me
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showing me one scene, then revellaing it didn't play out like I actually saw it happen at all so reveal the murderer is incredibly weak, I can write a story like that if you going 180 in the end. that's not mystery just deception.
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But at the end of the day, its just a game, and people have different tastes, if you didnt like it, i am sure there is some other game or genre that will suit your needs, but I personally dont see anything wrong with David Cage as a designer.
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Well, it is his birthday.
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Great game.
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The music was very good though, how come that doesn't get a mention?
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Come on, it's the only game that will ever exist that asks you to open a car door, put a seat belt on and start the engine (all via prompts of course), and then the part that the games industry has spawned hundreds of games... the driving... is a cutscene!!! What a joke. Absolutely horrendous. If you want a good story, read a book, watch a decent movie, go to the theatre!
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It wasn't perfect, but for all the reasons stated in this article and EG's original review, this is the one game I'll remember most from 2010.
And having got a Move for Christmas, I'm very tempted to give it a second run through...
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Oh come on, this game was a piece of mundane shit. Poor pacing, poor writing, poor interaction and all the nuance of a primary school play. It never ceases to amaze me that there a people out there who really think so highly of these extremely poorly told 'games' like Heavy Rain or any JRPG. Do you ever read a book or watch a movie for that matter? Even the fucking A-team is a narrative marvel compared to Heavy Rain.
1997's Blade Runner game already did what David Cage so utterly failed at with Heavy Rain and did it so much better. 13 years ago! Or, for a more contempary example mixing gaming with story exposition in a well done manner, why not try Uncharted 2 or Red Dead Redemption? As stated earlier in these comments, Heavy Rain is a disgrace to gaming as a medium
Oh and the sixteenth chapel is a master piece, or Da Vinci's David. Please ease up on the hyperbole.
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just asking.
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The storytelling had its flaws and at one moment the game made me very mad and left me in disbelief... any other game achieved that in my 20 years of gaming.
As for the other two, it is easy. God of War 3 and Assassins Creed: Brotherhood for obvious reasons. ANd then there is Gran Turismo 5 and Sports Champions with its Table Tennis.
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Imagine heavy rain with the technology of face animations of the new bredan mcnamra game ? wow, i am waiting your next game David Cage !
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The article described perfectly the way that the control system draws the player's attention and thought to things that might otherwise be overlooked and helps them to identify with the character but no mention of the soundtrack? For me the soundtrack was the linchpin in the whole game, the music sets the pace and the mood of the player and puts them in an emotional state similar to that of the character that is in play at that time, again strengthening that bond.
I personally enjoyed Heavy Rain far more than any of this year's numerous shooter titles and would love to see Cage and his team create another similar title in the not too distant future.
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/shrug
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I think you mean the Cistine Chapel.
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In fact I can't believe anyone actually enjoyed this game. As you put it the A-team movie is superior in every way to this... and you don't have to have to continually press a button to see how much worse the movie's going to get.
Completely agree, Heavy Rain is a disgrace, and an embarrassement to the concept of videogaming. If it were a decent idea it would have spawned a whole genre... and last time I checked most videogames continual to follow the basic principal of 'interaction'. The makers of this game need to find another vocation... they're no more suited to gaming than Patcher is to predicting the future!
PS. I prefer the fifteenth chapel