In a year of innovative games that didn’t quite stick the landing or super polished blockbusters that left me cold, when it comes to considering game of the year contenders, I’ve found it ever more important to prioritise my heart picks. In 2022, Hindsight was that game for me.
I’d argue it’s gotten more difficult to find a game that can hit you in the feels when many indie games feel compelled, at times mawkishly, to make players cry. Hindsight also has the unfortunate position of being the second Annapurna Interactive joint released this year that centres on a similar conflicting parent-child relationship, though the premise is immediately more gut-wrenching, as protagonist Mary’s introspective journey is brought about by the sudden news of her mother’s passing. The images conjured forth, however, make it one of the year’s most cinematic experiences.
I don’t mean cinematic in a Hollywood or MCU way but rather the lyrical arthouse fare that’s often smaller in scale while still grappling with big themes like time and the human condition. For me, the dream-like cinema of Wong Kar Wai and Terence Malick spring to mind, not just because both filmmakers have a tendency to rely on voiceover narration to articulate their characters’ internal lives, much like Mary. Indeed, one of Wong’s signature styles is playing with his characters’ perception of time with edits speeding up, slowing down or even repeating what we see.
Source – eurogamer.net
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