![]() It’s almost always done in poor taste, leaving the player disappointed and grossed out. We’ve seen enough of the “whoops, you’re actually related, despite flirting (or worse)” twist numerous times before and it’s time to retire it. It’s clear the game is meant to be thought-provoking and edgy but comes across as shocking for no reason. Throughout the game, you must drug your wife/sister to solve puzzles, with no option to skip it or come up with a different plan. While Twelve Minutes does a better job of explaining things, the delivery of the incestuous themes is much more graphic and disturbing. Is she just looking to torture Cole? That’s certainly what it seems like, but it’s a motivation that’s hard to get behind, especially with all the weird flirting going on. by trapping her father in an endless, incestuous time loop. Colt was a deadbeat dad who left Julianna, so she’s out for revenge. For instance, Julianna’s motivations aren’t necessarily clear. In Deathloop, especially, many of the game’s most burning questions aren’t answered. The weight of such a complex idea - the time loop - falls apart across both games, due to their horrific endings. It seems like the writers of both stories couldn’t figure out a meaningful, satisfying way to wrap things up. There’s an exchange in Deathloop that alludes to Julianna being aware of Colt’s apartment, implying the two had a “date” in a previous loop. That skeevy feeling is more prominent in Twelve Minutes, of course, since the wife is pregnant, but Deathloop has its fair share of sexual hints, as well. It’s as if you’re meant to be so shocked, you might fail to realize a lot of the plotholes sprinkled throughout.Īt the end of both games, you end up just feeling dirty, especially since the two pairs of characters are so sexually entwined. Especially in games with such an interesting premise, it’s all the more disappointing when the surprise endings are so half-baked. Those twists are shocking, sure, but that doesn’t mean they’re good. The intriguing premise of Deathloop collapses on itself after most of the questions it poses aren’t answered. We have so many questions, and the most important is, “Why?” Shock factor as a cheap storytelling tactic ![]() In Twelve Minutes, it’s eventually revealed that the husband and wife are actually siblings and the wife is pregnant. Both games use incest as the big reveal, but it feels lazy and disappointing in both instances.Ĭolt is Julianna’s father, and yet they spend much of Deathloop’s runtime flirting and trying to kill one another. ![]() The problem is that both have disappointing, yet disturbing endings that lean into shock-factor instead of featuring a satisfying conclusion. You play as the husband who must figure out the meaning of the loop while preventing the cop from killing you and your wife. In Twelve Minutes, a husband and wife are attacked by a police officer, and they’re all stuck in a cycle, repeating every - you guessed it - 12 minutes. In Deathloop, protagonist Colt wakes up on a beach, reliving the same day over and over again while being taunted by Julianna, a mysterious woman who knows more than she lets on. Spoilers for Deathloop and Twelve Minutes ahead. In games, the time loop can also work in conjunction with the gameplay in ways that make sense. When done right, it can be an effective way to tell a story, especially if the ending pays off. It’s a pretty basic premise that has been explored in games and film before. In both cases, the main male character is stuck in a time loop, and the player must unravel the core mystery to stop the cycle. Twelve Minutes is an interactive narrative adventure, and Deathloop is a first-person shooter. Annapurna Interactiveĭeathloop and Twelve Minutes debuted in 2021 and have way more in common than you might think. ![]() Twelve Minutes tries to be profound and sophisticated but ends up being disappointing, with a priority on shock-factor.
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