The Gallery

Woke kültür vurdurmaya çalışmışlar oyunun için de bunu görüp fark edince oynamayı bıraktım. Bir önce ki oyunlar da böyle durumlar mevcut değildi. Umarım ki Wales bu duruma bir son verir ve işinin oyun yapmak olduğunun farkına varır ve oyun yapar mesaj vermek yerine.

A slow burning story with socio-political commentary, choose carefully whether it's a theme that would even interest you. --- As a low budget art house film you might question why you watched it. By adding narrative choices this becomes an art piece unto itself. Thematically it's attempting to comment on the state of the world, it is unfortunately too short to cover any deeper meaning beyond the disenfranchised ambiance of a world that doesn't care what you think, assuming you're even capable of thinking. The aesthetic of an art gallery will appeal to art enthusiasts, but if that's not a scene that excites you by name alone, you won't get much more out of this, so skip it. You spend the majority of run time within the confines of the gallery bantering between the main characters, with only passing interplay from secondary characters that don't have enough screen time to be much more than set decoration. Can art speak to political meaning? Can criminal behavior make a statement on society? Can one person's breaking of normative expectations make any difference in this world? These are questions the story attempts to ask, but makes no meaningful effort to answer. As a framework for artistic meaning, perhaps the point is survival? Or was it anarchy? Or was it simply to be careful about who or what you care about? Is any of this deep or is it just transient ramblings intended to entertain you for an hour? But that's enough about the story… Functionally this is a choose-your-own-adventure narrative FMV set in a gallery. There's replay value with at least a dozen different endings and two different stories told decades apart for stylistic variation. The film quality is on par with a high-tier student film. The acting is on par with a BBC weeknight drama. As an artist myself I can appreciate the desire and yearning to showcase art in a world that increasingly doesn't care about hand painted quality. But it is a slow paced drama punctuated with only a few reactive twists to give context to your choices. I don't know how wide the appeal is for such a setting. But if you've ever sat around watching British drama and wondered what the story might be like if the characters made slightly different choices with each scene, then exploring this world may be entertaining for you. If you need action, excitement and a story that is ham fisted in delivering its message because you're easily distracted or confused, then go find something else instead. For me, I enjoyed it and look forward to replaying it occasionally to see it with different choices made. But it would probably be stale quickly trying to grind out every ending one after the other without a break in between. --- Bottom line: A shallow commentary on the deeper meanings of modern society, wrapped in the aesthetics of an art gallery. --- [url=https://store.steampowered.com/curator/38232109/]While you are here, would you consider following my curator page?[/url] [url=https://steamcommunity.com/id/kunovega/recommended/]Want to read all of my reviews and not just the curated ones?[/url]

Не лучшая и не худшая игра студии, но мне понравилось. Для фанатов FMV-игр игра отлично подойдёт

The Gallery est une proposition de film interactif plutôt originale, pas tant par son intrigue que par la façon dont elle est amenée au joueur. Vous y incarnez le gestionnaire d'une galerie d'art pris en otage par un portraitiste armé d'une bombe. Comme dans tous les jeux du genre, le gameplay repose essentiellement sur des choix à faire dans un temps imparti, influant sur les relations et les possibilités à venir, et menant à une dizaine de fins différentes. https://steamcommunity.com/sharedfiles/filedetails/?id=3771469155 L'originalité réside dans son architecture narrative miroir : vous devez jouer deux versions distinctes de la même prise d'otage à deux époques bien différentes, ayant chacune ses propres codes sociétaux : [list] [*][b]L'arc 1981 [/b]: on y incarne Morgan, jouée par [b]Anna Popplewell[/b] ([i]le Monde de Narnia[/i], [i]La Nonne[/i]). L'ambiance s'imprègne du Royaume-Uni des années Thatcher, marqué par les tensions sociales, les émeutes et les codes visuels/sonores des thrillers des années 80. [*][b]L'arc 2021 [/b]: cette fois, on y incarne un Morgan masculin interprété par [b]George Blagden[/b] ([i]Rubikon[/i] mais aussi le film interactif [i]The Run[/i]). L'intrigue se transpose dans un Londres contemporain post-Brexit et post-pandémie, modifiant les enjeux technologiques, le vocabulaire et les relations sociopolitiques. [/list] https://steamcommunity.com/sharedfiles/filedetails/?id=3771901932 Ce concept original finit malheureusement par s'essouffler. Comme c'est souvent le cas dans ce type de jeu, la multiplicité des dénouements incite à enchaîner plusieurs runs pour tout débloquer. Or, devoir rejouer la même trame narrative à une époque différente — malgré des nuances appréciables — installe une certaine lassitude, car on connaît déjà les tenants et les aboutissants de l'intrigue.

The Gallery shows promise with its ambitious dual-narrative structure and talented cast, but falls short of its potential in several key areas that could be improved. The parallel stories set in 1981 and 2021 offer an intriguing premise to explore sociopolitical changes across four decades, but currently feel too similar to each other, missing opportunities to meaningfully contrast the two eras or have them play into each other. The developers could enhance the experience by adding more era-specific storylines, dialogue choices that reflect the distinct social attitudes of each period, and deeper exploration of how the political themes uniquely manifest in each timeline. While Anna Popplewell and George Blagden deliver strong performances, their characters would benefit from more detailed backstories (beyond mildly corrupt art gallery managers) and personal stakes in the conflict. From a technical standpoint, the game needs significant quality-of-life improvements to encourage multiple playthroughs. The current scene-skipping system is cumbersome, requiring players to manually skip each previously viewed scene with lengthy delays. Implementing a "skip sequence" feature for consecutive viewed scenes would make replaying much more enjoyable. Additionally, the choice system could be more impactful by introducing more divergent paths and consequences that dramatically alter the story's direction. With these improvements, along with a deeper exploration of its political themes and character motivations, The Gallery could become a much more compelling FMV experience that better justifies its price point.

I find this quite hard to rate. The game consists of two stories and I played 1981 first and was just blown away by it. The sets. music, acting, story. A masterpiece. Then comes 2021 and its just rushed, empty, the actors suddenly have no chemistry anymore (maybe this was filmed first?), the sets seem boring and stale. Had it only been the first bit but a bit longer and more complex this would be the best FMV I've ever played, but like this Im hard on the fence of even giving it a thumbs up. I really dont understand how the one part could be so amazing and the other so bad. For 1981 and Anna Popplewell this gets a soft thumbs up.

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Like I purchased someone’s experimental student film project published using the choice-based movie format that Wales Interactive popularized. (note: spoilers in the Negatives section to explain some of the nonsensical story beats) I enjoy the Wales Interactive games (note: this is NOT a Wales Interactive game) and have played most of them to date. This game appears to be like one because the writer-director worked on some of those, but it's the first FMV game I don’t recommend giving a try unless you really want to see experimental work. It’s a failed experiment, but there are positives and so I want to list those first and then go into how this is just a huge misfire for the genre. The Positives -The idea of having a movie along two timelines was super-intriguing to me; I thought it was going to be some amazingly interconnected story that was going to enthrall me and give me that mind-blown feeling that I love from psychological thriller movies. It did not, but this is a positive experimental idea about seeing the same story played in two time periods with different actors (one switching from protagonist to antagonist!) that, even though it didn’t really work, was a very interesting idea. I only wish that the writing and story had lived up to the idea so that this had become a groundbreaking experiment in the medium. -The acting, audio, and cinematography are fine enough. I’m not a good judge of acting, but I think the performances were fine and the video and audio were well done. Since this seems to be made by a production company the director set up separately from Wales, I’ll cut it some slack for not having the same experience yet in all of the areas to do it all perfectly in its first solo outing. -This director has a record of sticking to the story for the most part without doing a lot of the BS that modern Hollywood does. This movie has an original story, it mostly keeps political commentary where it makes sense for the story (it’s in here, but it’s mostly about motivation for the antagonists and not trying to moralize to the viewer), and it focuses on trying something different and, as a result, is what generally makes me prefer this kind of media to most movies and TV shows these days. The Negatives -Just about everything I didn’t mention in the Positives ranges from bad to atrocious. The story isn’t well told, the choices are not that interesting (seemingly inconsequential early and then repetitive “comply or resist” choices later), and way too many of the things that happen in the movie are detached from reality. I can’t believe that people reviewed a draft of this and didn’t see anything wrong during writing, production, or editing. -The way the story unfolds is just “and now another plot point happens” in nature. For example, this was my journey in my first 1981 run: I am asked out on a date and choose whether to accept; I get accosted by a crazy person and I decide what to tell the police about it. I then randomly hook up with someone (of the opposite gender of the person I just accepted a date from) while I’m handed a painting in a case that’s way too small to fit one, and then I’m visited after I close for the day by someone and have to choose how to argue with the guy around whether the door was locked. Then, I randomly get painted (even though I’m supposed to be going on a date later and need to prepare for the biggest day ever for this struggling little gallery tomorrow) by this guy who clearly broke in, and then—SURPRISE!—I’m now a hostage and have to decide how much to resist or comply for the next 20+ minutes while he spouts his manifesto. During that, I can choose to make out with him. Then, based on my decisions, an ending occurs. Notice how none of this seems to connect—sure, they try to make it so that, for example, if you accept the date you end up missing it and so the guy doesn’t help you later, but you might as well flip a coin with that decision because you have zero context. It’s just so bad how the story flows. -The two-time-period parallel story structure is just the same story done twice with time/actor variations. It’s like watching the original Total Recall or Point Break and their modern remakes (but pretend they’re shot-for-shot remakes with different actors and graphics/fashion) back to back—why? What’s the point other than for the artists to experiment? It’s not made for the audience at all. If they had been different timelines that were interconnected or something, then that would’ve been for the audience and would’ve been awesome. Because the story was bad, watching it twice for those experimental elements was not as enjoyable as it should’ve been. -So many things make near-zero sense in this movie game. Since they did a gender-swap thing with a lot of the characters, the two policemen in the 1981 version become women in the 2021 version, and the two women just tell this crazy guy to move along and he complies—not realistic at all. He could’ve and would’ve easily taken them both down if he were a real crazy man—they at least would’ve gotten physical. The suitcases used to store the supposed main-event paintings for the showing the next day couldn’t fit a painting bigger than 6”x9”. The protagonist has romantic interactions with three different people of various gender/gender identities in the span of 30 minutes. Later, the raving lunatic returns and can’t even seem to keep his ideology straight—he’s complaining about the government controlling you and free-market capitalism at the same time (those are competing options). The suspension of disbelief required to watch this and not lose immersion is beyond the realm of a rational human. I forgot to even mention that a sex scene cuts away to two paintings of elderly people and the characters say nonsensical stuff like, “You snooze, you lose.” when they should have said, “Beggars can’t be choosers.” Who quality controlled this? -The choices, as I mentioned, are so bad. At the beginning, they are 50/50 “whatever you feel like” without enough context to make them with a clear preference. Later, there are the same “comply this time” or “resist this time” options that, with maybe two exceptions, cause your relationship with the antagonist better or worse. It’s that transparent and bland. It might as well just be a movie, but they give you choices and different endings that you have near-zero attachment to because you don’t really care about the characters or story enough where you really care what happens. -Unfortunately, this production crosses the line that I was happy that in previous games they didn’t cross before. This game has some progressive and post-modern ideas seeping in that make the game worse. In Ten Dates, they let you choose your character’s sexuality through choices and so it’s fine; here, you’re just making out with everyone with no explanation. They also have a period lecturing you about gender ideology, which is out of place, forced on you, and the “right” answer gets you a better relationship score to save your life. It’s way too close to the “down your throat” indoctrination crap that Hollywood puts out for my taste. While I still give it credit for having things like diversity in the game without drawing attention to them (i.e., they have characters of different demographics and play them straight without resorting to progressive tropes/stereotypes of them), they inserted a few post-modern ideas that were not for the story’s sake, requiring you to turn your brain off to stay engaged. Overall, I’m disappointed because I usually like these games and give them a lot of credit for what they either do or try to do with the genre. They’re usually better than many streaming shows because they’re different, fun, and focus on the stories. But this is just a catastrophically bad story with nonsensical elements, and I just can’t recommend it vs. other FMV games unless you really, really love experimental work in the genre.

Neobvyklé FMV (full-motion videogame), které se skládá ze dvou příběhů - jeden se odehrává v osmdesátkách a jeden je ze současnosti. Máte vlastně dvě "hry" v jedné. Hra spočívá ve vašich rozhodnutích, kterými ovlivňujete děj a určujete závěr příběhu. Jak už to u FMV bývá, každá sebenepatrnější volba dokáže jakkoli ovlivnit, co se odehraje a pokud budete chtít ze hry vytřískat co jak nejvíc a vidět víc různých konců, budete muset jet více opakování - příjemné je, že po jednom dohrání je umožněno pomocí "Tab" přeskakovat již viděné scény. Hlavní herečku určitě budete znát z příběhů o Narnii, jejího hereckého kolegu jsem neznal, ale v hrách tohoto formátu vždy uvítám známější herce, kteří své řemeslo umí a nehrají prkenně - zde se to pěkně podařilo. Oba příběhy jsou v určitých dějových bodech podobné, a je zábavné sledovat, jaké rozdíly utváří doba a nebo technologie. Osobně jsem nejdřív hrál příběh z moderní epochy a příběh z osmdesátek až jako druhý a za sebe to vřele doporučuji i vám.