Viewing the flat directly from above, using a tidy click, drag, drop interface, you deploy utensils, appliances and fixtures to try and change the course of events – most urgently, avoiding death – or unearth information that triggers new dialogue options. With that, life turns into something like a good old-fashioned point ‘n’ click adventure. Unless you can figure out how to stop it for good. Survive till the end of the loop? It restarts. From there, any time you die or get knocked out, it restarts. As soon as he enters the flat – whether you invite him in or not – he zip-ties you both and strangles you to death. But after five minutes of cosy domesticity, a cop (Willem Dafoe) knocks at the door. His wife (Daisy Ridley) has prepared dessert and a nice surprise. Yet here there’s even less room to breathe, not only temporally but spatially, because you’re stuck in a small apartment – three rooms and a closet – and that makes it all the more intense.Įach cycle begins as the protagonist, a nameless man (voiced by James McAvoy), arrives home after working late. With its tiny time window, Twelve Minutes feels more akin to Outer Wilds, bringing a constant sense of pressure into the loop, poking you to squeeze efficient activity into each moment. But as the title suggests, in extremely compressed form. READ MORE: ‘Axiom Verge 2’ review: a daring departure that expands what’s possible in platformers.Isn’t frustration at the heart of any good time loop story? And you know what – I’m absolutely fine with that. This is a game that wants to frustrate its players. Even when you pause the action, it’s replaced by the needling tick of a clock, refusing to let your brain settle. Its time loop structure taunts with fussy demands and merciless repetition, and rushes you into silly mistakes. Twelve Minutes seems designed to get under the skin.
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