We can’t stress enough how integrated the gameplay and plot are - it’s far beyond anything else. Another example? It’s late at night, and Lucas’s guest - an ex-girlfriend - is reluctant to leave. When the option to say goodnight or lunge in for some tonsil tennis pops up, we go for the latter.
It all goes smoochingly for about three seconds, before she leaves in an uncomfortable trail of muttered apologies. Then watch in horror as the game-calculated mental meter of the already-unhinged Kane plummets from severely unhinged to borderline suicidal. It’s a real wake up call. You suddenly grasp what is happening - you can mess with these guys on a whim. We almost drove him to suicide - it’s possible - just to see what might happen.
Suddenly you’re thinking twice about the laws of cause and effect in the gameworld, making the story that you allow to unfold - because it’s that heavily under your control - that much more compelling. With the chance to control three further key characters in the game - including the police officers hunting for Kane - you soon realize that your goal is not to save Kane, but to find the truth about the seemingly demonic murder without accidentally ruining someone’s life.