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Whilst Eli­jah Wood is no stranger to voic­ing var­i­ous char­ac­ters in videogames, Trans­fer­ence marks the first time he’s ac­tu­ally pro­duced one. It’s an in­ter­est­ing change of di­rec­tion for the popular ac­tor and what he sees as the next log­i­cal step for his com­pany, spec­tre­vi­sion (pre­vi­ously known as the wood­shed).

while Trans­fer­ence is per­fectly playable with­out the use of Vr, we im­plore you to ig­nore this op­tion and fully em­brace playing the game in vir­tual re­al­ity as the team orig­i­nally in­tended. It of­fers a rich level of im­mer­sion, which is only ac­cen­tu­ated by the game’s in­cred­i­bly un­set­tling at­mos­phere and some very ef­fec­tive jump scares. for the most part you’re sim­ply ex­plor­ing a de­serted flat, but clever light­ing and mas­ter­ful use of sound trans­form your rel­a­tively brief jour­ney into Trans­fer­ence’s bizarre worlds.

Like Gone Home, What Re­mains Of Edith Finch and other sim­i­lar games, the less you know about Trans­fer­ence the bet­ter the ride will be for you. the game is ef­fec­tively set within a sim­u­la­tion con­structed by sci­en­tist, ray­mond hayes, who has man­aged to up­load a per­son’s con­scious­ness to a purer form, those peo­ple be­ing him­self and his near­est and dear­est. ray­mond, along with his wife and son, must nav­i­gate two ver­sions of their home, us­ing handy light switches to flick be­tween the two re­al­i­ties (one of which is con­stantly in flux and filled with glitch­ing items and ref­er­ences to var­i­ous miss­ing com­puter files that halt your progress).

nu­mer­ous items can be opened, picked up and in­ves­ti­gated in Trans­fer­ence, and as you gin­gerly ex­plore the two ar­eas you’ll dis­cover sub­tle clues to what hap­pened and why ray­mond went to the ex­treme lengths he did. many of these rev­e­la­tions come in de­cently acted vide­ologs and cover nu­mer­ous themes that range from abuse to ob­ses­sion and sim­i­lar adult themes.

It’s cer­tainly a well-crafted story for the most part, but it lacks the sharp writ­ing of ti­tles like Gone Home and the sense of dread and un­ease that spec­tre­vi­sion has cre­ated from an aes­thetic point of view isn’t matched by Trans­fer­ence’s script. It’s still miles ahead of most triple-a af­fairs, but con­sid­er­ing the com­pany’s back­ground, we were hop­ing for some­thing a lit­tle deeper.

If Trans­fer­ence has a solid story and ex­cep­tional at­mos­phere, it falls down some­what in the me­chan­ics depart­ment. while nu­mer­ous puz­zles have been in­cluded, many of them are quite sim­ple to solve, mean­ing your grey mat­ter is rarely tested. then there’s the mat­ter of length, with the av­er­age playthrough tak­ing less than an hour and a half. granted you’ll have most likely missed the odd vide­olog, but with no al­ter­nate end­ings, there’s very lit­tle rea­son to re­turn to Trans­fer­ence unless you’re a sucker for plat­inum tro­phies. Ul­ti­mately Trans­fer­ence is about as deep as a pud­dle, but it re­mains an in­ter­est­ing ex­pe­ri­ence that be­comes sig­nif­i­cantly bet­ter when played in Vr.

Your main task re­volves around find­ing these crys­tals, which are hid­den about the house. Dis­ap­point­ingly they’re a lit­tle easy to solve, which means the end­ing ap­pears all too quickly.

For­mat: PSVR other For­mats: PS4, Xbox One, PC ori­gin: United States Pub­lisher: Ubisoft De­vel­oper: Spec­tre­vi­sion, Ubisoft Mon­treal Price: £19.99 re­lease: Out now Play­ers: 1 on­line re­viewed: N/A Fire­watch De­tails

Gone home

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