The Case

Episodic games are no stranger to delays. The simple logistics of keeping to a strict schedule, often giving mere weeks from one episode to the next, is not something to scoff at. Unlike in the film industry, where a problem with a scene can be addressed by reshooting one, small, section or simply airbrushing things out. The entirety of a video-game consists of complicated calculations and coding I am, frankly, grossly underqualified to comment on. My point is, it presents itself as a massive undertaking that even the most experienced development studios (cough, Telltale, cough) cannot ever hope to fully account for. So when DONTNOD announced that Episode 2 of Life is Strange: Out of Time had been delayed, I was overwhelmed with not surprise. When it came only two weeks late, however, that caused a raised eyebrow. And left me wondering, was the extra time needed, or added by choice?

The Trial

That would be a difficult question to answer, truth be told. I’m leaning quite heavily in favour of the latter though. As the finished product is far more solid than the first part in almost every way. Having said that, there are some issues I experienced in my, uhm, experience. Minor, actually rather amusing, bugs for the most part. Which have been mentioned by others both within our Appeals, and hidden amongst the dark corners of the internet where I spend my free time. The key word being here - minor.

Aside from a few graphical issues and the odd physics, the most pervasive issue your humble reviewer came across was, in part, self-inflicted. Approximately a third of the way through the game, during the diner scene, young Max was tasked with predicting the future. Which, of course, required first witnessing it, then rewinding time to inform her companion. Something I pre-empted by hitting the rewind button just a hair too early, overlapping with a scripted, black and white freeze frame effect that ended up going with me. A quick exit and reload fixed the problem, and lead to only minor irritation at having to do over about two minutes of gameplay. Nevertheless, it is an issue which needs to be addressed, and thus worthy of mention.

Beyond that, Out of Time legitimately and honestly improves on the first in every possible way. Already building on decisions made in the first episode in ways that give genuine weight to your actions. Not just minor lines of dialogue changed here and there. Things like Max’s plant, which I all but ignored last time, now being on the edge of death. Something which I noticed at the very beginning of the chapter, it brought me up short and put me to reflecting on other, seemingly innocuous, choices I had made. Which was a very good thing, because many of them, and much of the decisions in episode 2, directly affected the ending. Which can, and in my case did, lead to the death of a main character.

A death that could not be rectified. Because, as we learn very early on, Max is not omnipotent. Overexerting herself, as any teenager, or anyone, able to rewind time inevitably would, has consequences on her health. Something, let’s be honest, we all knew was coming. But few expected to see so soon. It was a jarring, and quite welcome, change of pace from the usual flow of such stories. Forging a path of its own and most poignantly proving the point that player agency is real. Not just a surface veneer to get you invested, but an actual, appreciable consequence of your words and actions. Where even a minor, off-hand comment could, and probably will, come back to haunt you.

It was an incredibly ballsy move, especially the ‘optional’ (so to speak) death which caps off the episode. Something which our own BloodyFanGirl refused to accept, leading her to restart the scene. Which, of course, I would have loved to have done myself. But I couldn’t bring myself to cheat fate like that. DONTNOD had made their point, and it behoves us to respect that and, well, just frikkin’ deal with it! Those two reactions, hers and mine, are the greatest compliment one can give to a narrative game. We are invested in a way that few games have ever attained.

After building up the sense of freedom, driving home how useful and pervasive the ability to control time was, and would be, in the first episode. Stripping it away so suddenly, and so quickly, has profound implications for the future of the narrative. The impact, and full gravitas, of this were felt immediately. Perfectly, succinctly and powerfully reminding you that nobody is infallible. It makes the two episodes when considered as a whole serve as a stark contrast and warning. With great power, for lack of a better term, comes great responsibility.

The greatest improvement, oddly enough, is that the episode is more linear. Far from limiting player engagement, it helps keep everything more focused and reinforces the sensation of being in a fluid world that is continuing around you. Whilst the more open sensation of the first episode allowed for more exploration, it also broke the sense of immersion by reminding you that other events would sit patiently and wait for you to trigger them. Something which, being a game, was still evident in this episode, but the structure gave less reason to wander around. With most areas being smaller, it took less time to explore each one, with each being small enough that it kept the story moving at a steady pace. And still clocking in at a good three hours.

There were a few moments that were...painful. Not because of the teen angst, which isn’t really as bad as some people have been lead to believe. But there were some awkward contrivances that were telegraphed from orbit around bloody Jupiter! Why on Earth would anyone, anyone, lay down on active train tracks without first having been lobotomised with a spoon?! I mean, we know Chloe is supposed to get high about twelve times an hour, but that’s all kinds of idiotic. So much so...I actually let the train hit her a few times just because...urgh. Also, the moment when she was playing with a gun, and accidently shot herself by a ricochet elicited a guilty chuckle.

Aaaanyway. Sadistic tendencies (and personal distaste for the character aside) this is something that further highlights the degree of engagement. Actions and reactions of the game’s NPCs lead to genuine emotional responses. Not all being of the homicidal variety, honest. Though Warren is rather, well, not creepy, but certainly smothering. An all too uncomfortable exploration of precisely how difficult it can be when you’re on the receiving end of a clumsy, socially awkward teenaged boy’s affections. An eye opening experience indeed.

What really sells the characters, of course, is the performances behind them. Which are as deliciously understated as in Chrysalis. Whilst lacking the glitz and glam of some larger budget titles, they add a much greater degree of authenticity, whilst the slightly clumsy dialogue, from none native English speakers remember, actually sells the sense of being young and naïve far better than a masterpiece of dramatic literature. Whilst the somewhat clunky, almost lack, of speaking animations actually lead to a curious, but effective, disconnect which helps everything feel that little bit more surreal. And thus more realistic for it. Like you are only getting a glimpse at something far larger.

The Verdict

What I’m saying, in no uncertain terms, is that the crown for masters of the episodic gaming world is no longer secure where it sits. DONTNOD are here, and they are here to stay. The only thing that stands in their way is time. The events of episode 1 and 2 have set, and continued to improve on, a superbly solid world for episodes 3-5 to knock it out of the park. All they have to do is hold the course, maintain the quality and Life is Strange is well on course for setting some new standards for interactive storytelling as an entire medium, not just episodic games as a niche.

Case Review