First person shooters and third-person games use the same rules: left stick drives the body, right drives perspective (the proverbial camera.) Steering two independent bodies causes intense cognitive dissonance. You know you want them to walk in the same direction, but moving two people simultaneously is jarring.Įven though most modern games utilize both sticks, you’re typically controlling just one body. The left and right analog sticks on the controller move the older and younger brothers, respectively, while the left and right triggers allow each to interact with the environment. Everything you need to know is either in plain sight or is something you can touch. Their speech is muted as well, heard at a slightly lower volume than the music and ambient noise in the game. When the characters speak to one another, it’s in a non-subtitled, fake language. Outside of the menu where you can select “Play” or “Continue” and a diagram explaining the four-button controls, there is no verbal language of any kind in the game. Small details like these underline every moment spent in Brothers‘ fantastic world, and they fill you in without ever saying a word. The headstone is marked with a feminine flourish, the flower, and the boys are left helping the father on their own.
These two kids are brothers and the sick, weak man they resemble, their father.Įven before we see a brief flashback to her death, we’ve deduced that their mother is dead. You immediately know who these people are. The man has the younger kid’s hair but the older kid’s sloped shoulders. Nearby, an older boy helps a coughing man onto a cart. The opening seconds of the game: a little boy sits in front of a grave with a flower on it, outside a small house. Literally every second amounts to a spoiler, so there’s no way to properly talk about it without ruining some of the magic in experiencing it firsthand. Even if it requires blind trust, it is recommended you just go play the game. How well you come to know the game’s siblings depends entirely on how you play, how willing you are to experiment and push into the world.īold statements, and equally broad, but there’s a reason to be vague about Brothers up front. It shares ambitions with some of the most respected and adored games ever made - Ico and Journey loom large - but it tells a more complete, human story than either. Brothers yields control in telling its sorrowful, lovely story, handing the player a shocking range of influence with elegant, simple controls.
In his debut, Fares made the game he wants to play, one that ties story and action together seamlessly. “I appreciate games such as Heavy Rain and The Walking Dead which have a more cinematic feel, but I think they are too close to a movie experience,” said Josef Fares, game director of Brothers: A Tale of Two Sons, “More attention should be given to the interactive aspect.”
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