the twelve minutes In the video game, you have twelve minutes to get out of the mess, and it's not as easy as you might initially think.
When you get home, your girlfriend has just come out of the shower, wants to make cookies, and maybe says something important, but of course she won't get out of Koçingspir's new enlightened mindfulness book until you set the table. I eat, it's delicious, although a little picky. “Then someone rings the bell,” says a policeman, “and they handcuff you both, and you fight for a while for your wife, who screams and resists: Help me, help me, help me, help me!” But the donkey quickly realizes and decides that you're going to be strangled here. When you get home, your neck is still hurting badly, and your girlfriend comes out of the shower again and asks you to make cookies. Then he sits down to read, and you just look at what's happening now…
the twelve minutes A top-down point-and-click adventure game,
Which was released in 2021, and is distributed by Annapurna Interactive, which mainly works with indie games. Their name can be associated, for example, Reckless It's also an RPG for cats. The fact that the indie game is not dominated by the complexity of the game mechanics, but by the story and/or the general atmosphere, is not new in itself. The twelve minutes Its uniqueness lies in the fact that the father of the game, Luis Antonio, not only consciously relies on the wonders of cinema history, such as the works of Alfred Hitchcock, Stanley Kubrick or David Fincher, but also assembled a very serious cast. in order to master the engagement.
It is no coincidence that the game, which is supported by the trio of James McAvoy, Daisy Ridley and Willem Dafoe, has been nominated for a host of awards in all sorts of categories, from screenplay to acting to play of the year. The story is so beautiful and multi-layered that it could easily hold its own as a movie. In this regard, I find it important to mention director Antonio's idea that the game's controls were developed to be as simple as possible,
The main goal was to enable everyone to have the experience that twelve minutes It can be extended.
Regarding the Transmedia connection and the entire development process burdened with illness, I boldly recommend everyone to Collider VideoWhere we can get to know the thoughts of both the director and the actors regarding all of this.
the twelve minutes Its closed spaces and its recurring experience of time come together as a symbolic stage of the trauma-processing process. By trauma I now understand a general concept in which an event or series of events that happened in the past proves to be “too much” for the individual to be processed. This can lead to several things: the person “almost” forgets what happened, while its “poison” falls into everyday reality, latent due to his lack of processing. This results in a fixation in which our hero – as we see, not necessarily conscious – is unable to disengage from a certain “point” in the past. Moreover, trauma “really” occurs when the person becomes aware of what happened to him in the future.
In a story that we control in one way or another, the past that clings to the present and constantly rewrites it and influences and defines the experience of the “new” does not only frame the gameplay by repeating it for twelve minutes,
But over time the basic interpretive horizon of the narrative also expands.
I use the expansion concept because there is no longer a “Start” button in the game's main menu, only a “Continue” button.
A 12-minute round can end in three ways: we leave the apartment, we die, or we simply run out of time. This framing helps us not to get lost in the infinity of possibilities and to have time to “start over” a certain process, if for some reason we feel that this is justified. As a result, the plot performs a repulsive and linear movement at the same time, in the sense that repetition reveals to us new and new aspects of the story, while the knowledge gained in previous rounds (whereabouts and history) and the policeman’s motivations remain; that is,
You don't need that. From time immemorialLikewise, we must plan every step we take with clockwork precision in order to reach the limit and get out of the time loop.
The narrative is very cleverly constructed, with new twists acting as “decisive events” that not only bring us closer to the game’s resolution, but also put the details we’ve learned so far in a different light. This can make certain elements of the story completely exclusionary for a given run (such as the arrival of the cop, who can be removed from the story with a phone call after a certain point, so we can focus on other aspects of the story).
Basically for the game Result of the week Some of them fit together, but some of them close the story for us.
Again, all of this fits nicely into the narrative of healing trauma. The game’s true conclusion is a bittersweet progression based on acceptance and letting go. However, the creators have left us with the final decision: if we want to, we can continue living in denial and lies, in the false happiness of our buried past. However, this also means that the time loop – in the absence of healing – does not end. In the forums discussing the game, this closure is the one that has been mentioned before For a long timeReferring to – referred to simply as “Groundhog”, i.e. Groundhog.
the twelve minutes It's an excellent and exciting indie game with a lot of strengths. If you play it for just 1-2-3 hours, you could spend days with it – I don't think it's worth grinding it all at once – but I'm not sure if it's possible to play it more than once. Once in a while it's really worth it!
Twelve Minutes can be streamed on Netflix and purchased on Steam.
