It’s lazy writing, and not even Meryl Streep and Anthony Hopkins could save it. The only moment of note is a late-game twist that serves not to satisfy, but to shock. There’s no emotional investment in their fates. But what you see in that E3 2019 trailer is 99% of what you get. Yes, the premise of 12 Minutes is solid, if not downright impressive. Night Shyamalan’s Split and Glass lends his efforts to a narrative with little thrust, and one hell of a bad ending. Perhaps it’s fitting, then, that the star of M. I found myself smiling at Dafoe’s raspy delivery, and awe-struck at how McAvoy and Ridley can pull off American accents with such ease. Say what you will about the game, but the aesthetic is killer.Īnnapurna is no stranger to Hollywood (it doubles as a film and television studio), so the casting isn’t necessarily surprising. Combined with a top-down camera view and an intimate setting (all the action takes place in that one bed, one bath apartment), 12 Minutes plays out like a dramatic stage play. James McAvoy stars as the husband, Daisy Ridley as the wife, and Willem Dafoe as the cop. It’s a lean crew-there are only three voiced characters-but it’s a mean one. One of the game’s biggest strengths is its cast. Instead, I’ll dedicate that real estate to the double-edged narrative at the core of the experience. I could write another 300 words complaining about the faulty design of 12 Minutes. It’s far less a creative sandbox, and far more an obtuse trick puzzle you keep on the coffee table for your in-laws at Thanksgiving. Unfortunately, 12 Minutes throws logic out the window, forcing you to brute force your way to solutions, rather than discover them organically. If you’re designing a game based entirely around logic, that logic better make sense. Want her to hide in the closet? The bathroom? There are no dialogue options for either. Want to hand her the knife? The game will have you stab her. Once you do manage to convince her, however, good luck getting her to help you out. Some “routes” make enough sense-you’ll eat dessert, learn of your baby for the first time, die, and use the newfound information to convince your wife you’re stuck in a loop. You can come up with a clever scheme, only for the game to reject it in humiliating fashion (usually asphyxiation, but occasionally a knee to the face). Here’s the thing: 12 Minutes doesn’t care what you think. What information can I glean from my wife? Can I negotiate with the cop? There’s a knife on the counter! Maybe I can hide in the closet and get the drop on our assailant. As you make sense of your surroundings, you’ll likely start asking yourself questions and devising thoughtful plans of action. On paper, this sounds like a compelling concept. Eventually, though, you’ll end up with a knock at the door, a heated encounter, and death by strangulation. Or, you can head to the bedroom and fall asleep. You can sit on the couch as your wife reads a book. You can set the table, have dessert, and dance along to the radio. After a few seconds, she exits the bathroom, gives you a hug, and tells you dessert is in the fridge.įor the next 10 minutes, what you do is up to you. The loop plays out the same each time: You arrive home from work while your wife is in the bathroom. It’s Groundhog Day, But in Hellġ2 Minutes sets itself up as a harrowing thriller that’s part mystery novel, part action flick, part puzzle game. Long-story short? 12 Minutes is a spectacular failure, and a rare miss for publisher Annapurna Interactive. But no amount of acting prowess can save a bad narrative-and a terrible game. Some of that potential still manages to shine through, thanks to a cast of capable A-list actors. 12 Minutes had potential to be something special. Too bad the game itself is a cacophony of half-baked ideas and bungled story threads. It’s a thrilling premise, and a wonderful trailer.
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