The interactive film – that the cloudy, difficult-to-define type that is completely modern in the mid 90's when CD-ROM technology allowed developers to integrate live shots in games – we do not just remember the high quality. But even in the tradition that is responsible for such notorious buffs as Night Trap, Shark Shark and Who Shot Johnny Rock, the Quiet Man is surprisingly terrific – an unparalleled, outdated game that belongs to the era of laserdiscs and Philips CD-i. When it's not an interactive movie, it's a simple 3D beat-em-up of the sort ever ubiquitous in galleries. But the interest in the past does not make The Quiet Man a love letter for the history of video games and its ideas are not well understood.
A quiet man has a formal temperament that is at least moderately interesting. You play like a beautiful blonde 20-something called Dane, who is deaf and therefore the game is almost completely silent. You only hear the tangled leg of the foot while walking, some vague notes of the composer to represent voices and a pale patina of general atmosphere elsewhere. Marketing materials describe it as an attempt to allow the player to "experience the world in the way Dane does". But we clearly do not experience the world as Dane does. The Dane reads the lips. communicates extensively and effortlessly with every character he meets. So why are not these conversations subtitled? In a long dialogue scene after another, people talk to Dane, obviously promoting the story. In the meantime, we have no terrestrial evidence of what is being said or what is happening.
This kind of unexplained design is completely characteristic of The Quiet Man. It is difficult to understand so many things that appear. Consider an early narrative sequence in which Dane meets a colleague or friend – the relationship was not obvious to me and only becomes more confused over the course of the story – and discusses with him in his office. In a series of mundane moments, the other speaks as Dian nudges together, grabs. the nature of their conversation is opaque and their amateur and hammy performances are teeming. You can imagine that this scene is gradual in such a way that the content is clear even without sound or subtitles. Quiet man does not even try.
When these mysterious, endless scenes of full movie at the last end, actors are interrupted for vividly animated replacements, many of whom have such a bad resemblance to their counterparts in real life, it is often unclear who is who. It's never hard to get Dane into the heat of battle, though, because it's the only one that's white. The endless procession of the villains that ask you to send violently is uniformly Latin, wide caricatures of "cholos" in the garb-street, which grumble among the cries. You fight them almost exclusively. The political implications of the demographic makeup of the game are horrible, in this time-consuming wall, especially and the end result is clear, indisputably racist.
In any case, it is well suited for enemies to be the same type of repeated corruption type, because repeatability is the very nature of the Quiet Human Battle System. Brawling has what could be described generously as a simple arcade depiction: a button to punch, one to kick and one to avoid, and a final move that can be triggered sometimes. It would be more accurate to call this elemental. Almost every battle boils under a dull frenzy of the snap, as enemies rarely block, rarely fight back and almost never come to you more than one at a time. Although the waves of 10 or even 20 have to beat to clean a particular room, they do not change their approach or change their style, and rather appear to stand perpendicularly waiting for their turn to be occupied. There is no way to alter your attacks, which give each encounter the air of a pottery.
Boss battles do not differ much in terms of character or technique. They are, on the contrary, distinguishable from the point of view of the overwhelming difficulty. I almost never lost a fight during the regular game. each one of the bosses' brass battles, however, kept me for a long time, as I worked through cracks with enemies that seemed absurd excessively and almost weak to hurt. The worse than the mere loss of these battles was how steadily indefinite they were. It's rarely obvious why you may miss a fight. The game does not monitor the damage or shows the enemy's health and it is never certain whether your hits land or record a big hit – hitboxes are unquestionable and the attacks almost always clip through bodies, which makes the whole process feel at the same time weak , and unrealistically unclear.
The simplistic, futile battle is even more stunning, as he is the only engineer of The Quiet Man. From the beginning to the end there is nothing else to do – there are no places to navigate, there are no data to collect, there are no weapons to practice, there are no puzzles to solve. It is precisely those themselves full of mind punches and kicks that dissolve from extensive narrative scenes that due to the imposed silence you can not hope to follow or understand. The broad contours of the plot are vaguely perceptible: the drama includes childhood trauma, poor metropolitan sublingual, various conspiracy and revenge. As far as the details are concerned, it is impossible to say. The last moments of the game tease an upcoming addition that will allow you to play it for the second time with the sound that has been restored. This feels like a ruthless cop-out – that's it basic temperament! – and a tough punishment. With sound the story will definitely make sense. But having suffered from The Quiet Man once, I can not afford to try it again.