Pc games fahrenheit

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Frogger: The Great Quest. Keep Talk Until You Dead. Asgard's Wrath. Breeza budgie bill. It's not a point-and-click adventure they're dead , it's not an RPG they're too timeconsuming and it's not an interactive movie. We're not making Dragon's Lair here OK David, calm yourself, no-one suggested you were. It's actually a psycho-thriller, he states. Which doesn't help an awful lot because it's not really a genre that we're used to seeing outside of the cinema.

So, David, in a single sentence, can you explain what Fahrenheit is? Erm, no. It's an interactive experience where the actions of the player really affects the way the plot unfolds.

Thank you. It's modern-day New York. Seemingly random murders are being committed by everyday Joes, with no apparent rhyme or reason. Nutters, obviously. Except you play one of them, Lucas Kane, and it's your job to uncover the truth. But that's not all. New York is inclemently cold and getting colder by the day. Your job again. I'm afraid. And just to complicate things further, you also play the part of a policewoman, Carla Valenti, charged with solving the rash of murders that have erupted on the face of New York City.

Time to take a deep breath. So, you play the hunter and the hunted. How does that work then? Time to fire the game up You're sitting in a public toilet, contemplating life, when an old man walks across the room and washes his hands. Seemingly losing control over your body, you leave the confines of your cubicle, pull a knife out of your coat and plunge it into the man's heart three times, t before carving cabbalistic marks on your forearms.

You then come round with more than a shudder of horror and try to work lout what the hell's just happened. What do you do next? Run outside, oblivious to the fact that you're carrying a knife, covered in blood and probably more than a bit wild-eyed?

Or take a few seconds to collect your thoughts, wash yourself, hide the knife and body and escape without drawn attention to yourself? Come on, you1 playing against the clock here. From this point on the gamTis played m real-time. If you're recoiling at the. As David explains: In Fahrenheit, there's no pre-rendered stuff - everything is done in real-time and we've tried to make it all interactive. Even when you're making really simple actions like pushing a door, you're actually pushing a door yourself.

That probably needs a bit more explanation and although it's almost impossible to describe without playing the game, these are the basics of the game mechanics. Played out in full 3D, there's no visible interface as such.

Instead, all your actions are supposed to be intuitive: so, if you move towards a door and stretch an arm out, you'll push the door open or closed. Every action you make is supposed to feel as natural as possible. Initially conceived on a PC, the control system has been changed to accommodate two analogue sticks, and David admits that he's still not sure how to maximise the experience using conventional PC controls.

But enough of the technicalities for now. I When you've done your doings and scWperecHhe action switches to Carla the arrives at the scene of for clues.

And I know what to say next. If you've just lidddh the knife, then surely you'll know exactly where to look for it? You know that you have to search the scene of the crime, but you don't know where to look. Your actions directly affect the way the game pans out, and although the ramifications for gameplay aren't entirely clear, David is convinced that Quantic has created the first fully interactive narrative.

He calls it the rubber band' theory, which relates to the fact that the story you end up with could be long stretched or short, depending on the route you decide to take.

If nothing else, it's a bold vision: I wanted to prove that a game can be as engrossing as a movie. But is that reatf possible?

A good film is a completely passive experience where you're guided through the action with carefully choreographed ingredients that would be useless in the hands of an inexperienced punter. How can you hope to combine narrative and interaction to the point that neither is an afterthought and both compliment each other.

This is the real challenge. I've heard a lot of people say that interactive storytelling is something that can't exist because storytelling is linear. I strongly believe they're wrong. I think you can have a very good quality story, but you can make it interactive too - and this is the basis of Fahrenheit. The core experience is the interactive element, and from there we've asked ourselves what kind of story can we tell?

We haven't done the reverse, which is coming up with a great story and then trying to add interactive elements because you're going to end up with a crap story you're not interested in and interactive elements that don't work. But if you only control two main characters, how can the entire story be interactive? Good question.

You see, there are moments where you need to watch a sequence of events and try to intervene at the right time. You're back at your apartment, bloodied clothes on your bed, when you're yanked out of your body and outside your apartment where, in a premonition, you see a policeman about to knock on your front door.

You can stretch thisMsion by correctly following the policeman's actions and if you do, you get to see clues that will help you cover your tracks before he arrives at your door.

If you fail, you're stuck back in your body with no hints and a set amount of time to make your flat more acceptable to the local gendarme. Apparently, there are up to ten different plot outcomes to this sequence, but we're not going to reveal any for fear of spoiling the game.

Some of these might be fatal or lead to the end of the story, in which case you get the option to replay that entire chapter as you would on a DVD. Others merely move the story on, in whatever direction you've chosen. According to David, though, this doesn't mean the game has to be either ten times bigger or ten times shorter than your average game, although he's definitely not interested in length for length's sake. I want to make a game that's ten hours maximum.

It's hard to tell a story and to remember everything in a hour story. There's still this idea that if you pay for a game, you expect 40 or 80 hours because the more you get, the better the value. We don't subscribe to that idea. Does anyone think that a longer movie is necessarily a better movie? What would you prefer, the best seven or eight hours you've ever had or 80 hours of falling asleep?

Well, now you putlit like that And don't think for a second that the entire game is going to be pedestrian, a case of making choices and following hem. Action seque are key to the Sncept of Fahrenheit, and I was treated to brief snatches of a couple Matrix-style scenarios: one where you're running down a busy road, dodging the cars and trucks hurtling towards you;. This mix of real-life scenarios and more arcade-like action sequences make Fahrenheit a peculiar beast.

And, although I've got absolutely no idea whether it's going to work, I'm going to keep my fingers and toes crossed until jts release.

Watching a short snatch of cartoon before wading through an impossibly big inventory, combining everything in the hope of progressing the story is just so passe, darling. Neither do I want to spend 43 hours killing rats, collecting mushrooms and wading through sheathes of dialogue before levelling up and taking on slightly larger rats' with a larger sword and shiny armourj. Life's too short. I want a dark, contemporary narrative that I control, with decent and believable voice acting, edge-of-the-seat action sequences I'm in the centre of and an adult feel that makes me feel slightly soiled yet curiously involved and elated.

I just don't know if it's possible We Once had the dubious pleasure of visiting the offices of Fahrenheit developer, Quantic Dream.

It was a stifling hot Paris day and we were there to see surrealist weird 'em up, The Nomad Soul. Details of the meeting are sketchy, but the one overriding memory is of visiting the bogs only to be confronted with a stinking piss-stained mattress stood upright in the bath.

Funnily enough. Fahrenheit begins in a toilet, not of a Parisian development studio, but a New York diner, where Lucas Kano is taking a dump. Nothing unusual about that, but instead of flicking through a magazine while he releases the otters, he's carving strange symbols into his arms with a steak knife.

This is where you come in, picking up the character of Lucas as he attempts to extricate himself from the pickle that he's landed himself in, what with the cold-blooded murder of a stranger.

Staring at the mutilated corpse of the slaphead, drenched in both your blood and his, you need to think quickly. Even more so when the screen splits into two to reveal a New York City cop who gets up from his feed and starts lumbering towards the gents. The split-screen trick is a tried and tested cinematic technique, popularised by Brian De Palma in his horror classic Carrie, and more recently used to great effect in bonkers TV series It's the latter that bears the most similarity to Fahrenheit, with the action in one screen often dictating how long you have to do something in the other.

It's an undeniably tense business, made even more so by the unique control system. When faced with a number of choices, you select one by moving the mouse in a particular direction. So for instance, faced with a pair of taps, sliding the mouse left chooses the left one which is out of order and sliding the mouse right selects the right one which emits a tepid dribble.

A unique approach, it seems that the idea is to create a more tactile experience in order to relate to the character and his particular predicament. There are also sections of the game that require you to complete a physical task by pumping the left and right keys in what will always be known as Daley Thompson style in tribute to the Olympic decathlete's Spectrumruining game.

Again, the idea is that if the onscreen character is exerting himself, then so should you be.