Indigo Prophecy Reinvents Adventure


Adventure Reinvented

Title Indigo Prophecy
Rating Mature
Developer Quantic Dream
Publisher Atari
Release Date October 2, 2005
Platform PC (reviewed), Xbox, Playstation 2
Genre Action/Adventure

The question of whether or not video games are art? This question has yet to find a definitive answer among developers, writers, or even gamers, although I think most would like to see the medium accepted alongside literature, cinema, and music. One way to reach for that level of expression could be to make games that closer resemble movies. Indigo Prophecy takes that route by focusing on plot, characters, and cinematography, resulting in a spectacular game with a gripping story. This innovative and addictive adventure game gives you complete control over multiple protagonists and it is your job to keep them sane and safe throughout a winding narrative about a murderer, a prediction, and a little thing called the apocalypse.

In true movie fashion, the unfolding events are often viewed from multiple cameras and there are quick cuts and dramatic close-ups. Often, the screen will be split and show you parallel events or angles in a way similar to the television show 24. The initial plot begins with Lucas Kane in a trance as he murders someone he has never met in the restroom of a New York diner. Knowing that he is not “a murderer” doesn’t change the fact that Lucas has in fact killed someone, so you must evade the police while trying to answer the question, “What the hell just happened to me?” Almost all of the game is played as Lucas and two other characters: the no-nonsense detective Carla Vincent, and her laid-back partner with a heart of gold, Tyler Miles, who are both tasked with solving the murder case.

The game is incredibly story-driven and fairly open-ended. Thrills comes from discovering what happens next in the overarching narrative and deciding how to proceed in the individual episodes that are both open-ended and interrelated—the actions you take will have repercussions later on. For instance, at the very beginning when you are given control of Lucas after he has committed the murder, you are faced with an intricate dilemma. First, do you leave the victim lying there or try and hide him? There is a cop sitting at the counter—should you just run out the back or play it cool and leave calmly after paying your bill? What you choose to do will either foster or destroy your characters’ sanity, and if it falls to the level of “wrecked” then the game ends. These kinds of choices and the interactions that follow comprise the game as you guide the main characters on their journey.