The Middle Ages were not easy on France. When the people did not contend with the plague of the black plague, as British armies they fled reduced villages to a cider. Most would not put a familial love story in the middle of all this, but hope to walk in a sea of nihilism is exactly what a plague: innocence is taking place.
"Hugo! It's me, your sister, Amicia, says a girl." Hey, "a boy answers carefully. The sound of doors being turned on can be heard from afar." Take me the boy alive! "Screams a soldier There is no time for introductions, siblings must leave their home behind.
The invaders are called the Inquisition, a militarized sect of the Catholic Church, who have looked at Hugo for reasons that are not attentive to the player, fully prepared to burn banners and Slaughtering those who can come between them and the boy is the fate of the siblings' parents after trying to protect their son from the church, which forces Amicia to double as a sister and surrogate mother to Hugo from there, babysitting is tough enough without all the inquisitors, warring nations and ravenous pest-bearing rats are added to the mixture, she has received a hand that is only unreasonable.
You only know how gloomy the story is when Amicia is forced to lead Hugo over piles of corpses from a battle between English and French armies. The Inquisition is hot on their tracks, so it is not possible to walk around the battlefield. Not to mention that the rats shit about the battlefield, removing the flesh from the dead legs. It doesn't matter which way Amicia and Hugo take; Death will not be far behind.
Although they climb over bodies, the bodies push deep into the clay at every step, the two never let go of each other. No matter how the true vision or how nihilism seems to cling to the air, love shines through. It must, otherwise, this story be difficult to stomach. Amicia must keep Hugo safe and at the same time get to know her brother. She does not always say the right things, but no one should expect her because she is still just a child herself. Building trust takes time and effort, one step at a time.
Unfortunately, there are times when history suffers because of a stiff animation work. It was a moment when a character's death stays directly into the camera, their face completely inseparable, making it impossible to understand what is happening in the head. It is hard not to chuckle at the stilted puppet stand when the game really tries to evoke an emotional reaction. So, if you go into this, the subtle face animations in a Naughty Dog title will expect you to be disappointed. It is a pity, because the ventriloquista dummy-like movements put down even the most well-paid and thoughtfully written scenes in the game.
Amicia and Hugo's band also weave themselves into the gig. Being a child is the two who are unfit to take on the armor in an initial engagement (try it and you will die immediately). Vulnerability is not just putting on the cover for the story, it is also replicated over mechanical systems.
It is thus better to choose the nice setting. If you have played any game in the last 15 years, you will know the basics here. Human enemies are patrolling around solid roads, there is comfortably placed long grass for you to hide, stones can be thrown to cause disturbances and distract guards, you get the core. When you face human enemies, it feels like you are just going through the movements.
But the interplay between light, darkness and how the two spectrum of light affect the rat behavior is where the gig becomes interesting. Dark is usually your ally in these types of games, but this time, the light is as useful to keep you safe. Amicia and Hugo have to stay out of the Inquisition's view without wandering in a dark sea of mere eyes. Early in the match, Amicia and Hugo hold onto a crypt that is hunted by the Inquisition, with rats pouring out of each hole in the wall. Amicia stains a soldier patrolling with a lantern in her hand to keep the rodents in the lake. She fills her loop with a stone, refers to the lantern and the fire. The lantern crushes, extinguishes the light inside. Suddenly, the soldier has no protection from the dark, so that the rats can drown him in a whirlpool. But the siblings are not sure yet, as it was hardly enough to saturate the swarm's appetite. Amicia lights a torch and winds back and forth to keep rodents away until she and Hugo are safe over the room. Hugo keeps his sister tight all the time. The flow between cutscenes and gameplay is handled with such grace that it is easy to forget that you are the one as pilot Amicia throughout the trial.
Hugo can be issued commands to make it easier under the more difficult segments. For the most part, it is just simple "stop" or "follow me" orders, but his participation is more detailed during puzzles. Movement to a lever and he pulls it, so that Amicia can cross a drawstring and pull a level on the opposite side so that he in turn can cross too. There may be a hole in the wall only a child can fit through, so a push will coax him to open a locked door from the other side. When you work through these puzzles, the two will sort through their own luggage. "Has mother exercised her alchemy on you?" Amicia requests. "She gave me medicine for headaches," Hugo admits. Inhibitions fade they learn to work together and build trust. Tragic teambuilding exercises, if you like. All this is not a decorative veneer for an escort mission either, nor does the game lure by making Hugo unforgivable or invisible to enemies. He is as receptive to danger as Amicia is, the duo must always be aware of their surroundings.
No matter how good the narrative between storytelling and gameplay, A Plague Tale has some glitchy moments that take you out of it. Once, Hugo flew into the sky as if his home plane needed him, and I had to recharge my rescue. Rats decide that they are suddenly not afraid of the light and continue to make Amicia mulch. These are rare events, but be aware that any buggy nonsense is likely to cause.
If there is one aspect of A Plague Tale that I could do without it, it would be the progression and manufacturing system. Death is sprinkled in any environment that serves as a craft for alchemical drinks and ammunition types. Hold the x button and watch the meter fill, and the viola, you now have flaming stones to throw. Riveting matters. I understand that the developers wanted to add a "survival" through finite resources but material is so abundant that not once was I completely away from any given ammunityp. It's difficult to watch the story being interrupted by a workbench you've seen in a million other games when it's not necessary. Amicia could easily find a satchel out in the world that expands her inventory but instead we hold the x button and look at the meters filling a progressive bar like a dullard. So often, progression systems are the railway in a hook and it is a pity to see that a garment salon does not spend the trend. It is a splendid aspect of a game that is otherwise quite good for masking that kind of thing.
An issue language: Innocence doesn't nail everything, but it still manages to pull off the things it was absolutely necessary to succeed. For every clunky stealth section or awkward animation, there is a hearty interaction between Amicia and Hugo. It is a story of the inevitable end to all things and how tragedy makes people long for a time before the innocence is removed. Amicia did not ask to become Hugo's guardian – it's just the way life stretched out. As she would like to protect him from brutal conditions, it is not possible if they want to survive. Innocence is like fire nor lasts forever and ultimately every flame flames out. If we stick to the people we love, it will burn as long as we need it.
Disclaimer: A copy of this game has been provided to the RPG site by the publisher.