![]() Most of this comes from the Monarch side of things, particularly in the television show. That’s why it’s so impressive that Quantum Break is absolutely able to dabble in nuance. It’s full speed ahead, right from the get-go. From start to finish, rarely is there a moment of downtime when a critical plot development isn’t happening. It’s a story about constant stakes-raising and heavy-handed action. Quantum Break, on paper, is not a game that should dabble in nuance. Different choices alter the details, but it all eventually funnels to the same closure. However, these are different means to the same end. For instance, in my second playthrough, a supporting character played a suddenly-large role in working toward the game’s conclusion in the first playthrough, that character saw hardly any screen time. ![]() They begin somewhat light, but by the end, their collective weight accumulates. These decisions have an unexpected heft about them. These always come directly before episodes of the television show (there are four in total), and they offer an unsettling look at how the other half lives. Quantum Break features prominent story junctions - opportunities when the player takes control of Serene, and makes a choice that strongly influences how the plot will play out. It’s classic “corporations are always bad, the little guy is always good” material.Įxcept, that’s not quite true. Monarch has a vested interest in getting its way. Serene is in charge of a mega-corporation called Monarch, a company that somehow specializes and profits off of time-travel technology. The main conflict arises from the fact that both parties have very different ideologies about how to resolve it. As a result of this fracture, the world will experience random stutters where time ceases to move forward and everything’s frozen in place. ![]() Protagonist Jack Joyce and soon-to-be antagonist Paul Serene cause a fracture in time during the opening minutes, and the rest of the game is spent trying to remedy it. This obvious cross-medium fracture is extra obvious because, well, a fracture is Quantum Break‘s main plot device. Still, it’s hard to not feel as if Quantum Break‘s individual parts outweigh the sum at times. Maybe that’s okay, though, because all the other components are executed with similarly stunning proficiency. It’s a game that excels at being a game, yet implores the player to spend a majority of the time either watching, reading, or listening. In a way, this is a shame because it is an absolute pleasure to play. It’s advertised as part television show, but it’s also part novel, part film, and part radio broadcast. Born from Microsoft’s now-abandoned cross-media initiative, Quantum Break is many things, only a fraction of them being a video game. Quantum Break is a video game that is not comfortable being only a video game. ![]()
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