Jodie Holmes, portrayed by Ellen Page, is the main protagonist in Quanitc Dream’s newest release, “Beyond: Two Souls.” (Photo credit: Sony)

‘Beyond: Two Souls’ strips away the ability to choice

“Beyond: Two Souls” is unlike anything you’ve ever played before. Its story, mesmerizing and confusing. Its structure, Tarantino-like. Its characters, rivaling the most engaging heroes, antiheroes and out-and-out monsters you’ve seen. And when it ends, you’ll be torn between two worlds: thrilled to know how this complex tale ends, disappointed to know “Beyond: Two Souls” could have been — really should have been — so much better.

Quantic Dream, home of smash-hit noir-like “Heavy Rain,” returns us to the world of interactive drama with writer/creative director David Cage’s “Beyond: Two Souls.” And yet again we’re reminded that Cage has a penchant for compelling drama, for telling a story through the mode of video games that excites you. But therein lies the most upsetting aspect of “Beyond”: It’s not so much a playable video game so much as an interactive cinematic opus from Cage to the world. You’re going to see a beautiful story; you just won’t have much to do with it yourself.

Despite that, “Beyond” manages to enthrall, thanks almost entirely to its tragic heroine, Jodie Holmes, brilliantly portrayed by Ellen Page (“Juno”).

“Beyond’s” story is split into multiple chapters spread across Jodie’s life, out of chronological order throughout 15 years (from when she’s 8 to 23). The transitions can get a bit confusing, but the general story line takes us through her life as a little girl, to a typically angsty teenager to a survivalist young woman — you just have to keep track on the game’s timeline just where you are in relation to the other events you’ve experienced. As noted, a bit headache-inducing, and it does leave you feeling, perhaps, alienated. That’s a bit strong, admittedly, but the feeling is true. It’s jarring and unfocused, but you should more or less get use to it.

(Then again, if you played “Indigo Prophecy” — called Fahrenheit elsewhere — you won’t be surprised by this lack of focus. We jump from Alfred Hitchcock-inspired horror to Steven King science-fiction to Naughty Dog-like action. And don’t forget the noir and pulp moments. There’s a bit of everything littered throughout.)

The crux of the story revolves around Jodie’s connection (more like tethering, really) to an spirit entity she calls Aiden (she pronounces it like eye-den), of whom you are granted control of during much of the gameplay if you so choose. (Well, you really don’t have much a choice, but you could wing it solo if you wanted to.)

As noted, the lack of genre consistency leaves you with a case of whiplash, but there are plenty of moments when “Beyond” simply shines. As with “Heavy Rain,” it’s the smaller moments that make you want to continue playing. One of the most engaging sequences happens when Jodie is getting ready for a date. What to wear? What to clean? What to order? What to do about Aiden? These, like choices in “Heavy Rain,” actually matter, altering following scenes. It’s fantastic interactive drama.

And Page truly carries these scenes. You become entangled in her lurching story, especially because she’s likeable and capable and just sincere. Her lines reflect the right amount of sadness, snark and intelligence. (This can’t be said for everyone else, even Willem Defoe’s character, who has a bit of Norman Osbourne in him. The supporting cast’s lines can get a bit … grandiose.)

Compare that with other scenes where you are required to perform actions one would think you’d get a choice over (say, killing a man). The stark contrast proves upsetting when you expect more freedom.

This is the “game’s” greatest flaw: the streamlining that has taken place since “Heavy Rain” leaves “Beyond” less susceptible to flinching plot issues, but it takes away one of the best reasons for playing — the chance to affect your fate.

Plenty of options — with what you interact, you who talk to, what actions you take — lead you to believe you’re in control. Sadly, in “Beyond,” that control is closer to illusion than reality. Most choices you have are inconsequential — how you answer someone’s questions, if you’ll take revenge on someone who’s wronged you — and the story will go on as planned regardless of most decisions you make. The unadaptability is a step back from the admittedly too-openended “Heavy Rain.”

Not to mention the gameplay. But let’s be honest: Quantic has never been known for its gameplay interaction. Heavily reliant on quick-time events (this time focusing on using the right thumbstick — or an iPhone or iPad if you choose to play that way — rather than button-mashing), the motions are simple enough. It doesn’t take long to get the basic mechanics down.

Most QTEs give you plenty of time to respond, but some are in the middle of high-octane action, so be on the lookout even during cutscenes.

Interacting with the world around you requires to you find little white dots, which indicate what you can mess with. You see a dot on a couch? Roll the right stick in the direction of the dot, and you can sit down and watch some TV.

When you control Aiden, you’re given a different set of commands, though mastering these shouldn’t provide too much of a challenge. Hitting the triangle button will allow to swap with your spirit companion with a swoosh. As Aiden, you can pass through walls, possess certain enemies, kill others, interact with objects and help Jodie channel psychic energy to help progress. A notable question: Why are Aiden’s actions limited at certain times? You would think you would be given full reign so you could best decide the appropriate action for the situation, but Quantic has taken much of the choice away (again). You’re more or less told how to use Aiden, never relying on your own intelligence to get you through an area.

And let’s not even get into combat. Again, no one plays a Quantic game to engage in some street brawlin’, but this system is a bit much. Time slows down during physical fights, and you have to move the right stick in the same direction in which Jodie’s body is moving. You’ll quickly find out this isn’t as easy as it sounds. Her body movement can prove difficult to read, compounded by the fact that you only have a few seconds to move the stick in the right direction.

Still, it’s not like it matter. You can fall down, get stabbed, take a punch to the face, you’ll get up and keep on moving. Even fatal-like wounds don’t slow you down, as Aiden can heal you.

Even with its complex story and engaging lead, “Beyond’s” restrictions prove to be too much, casting too wide a net of linearity. Granted, for every major decision over which we have control, that creates that much more game to integrate, that much more chance for plot holes and inconsistencies. And you can only do so much with one protagonist (unlike “Heavy Rain’s” four). But it’s comes across as unfulfilling when you expect vast more control over your outcome and you get almost none.

The ending sequences do give you some choice, and you’ll likely be choked up no matter how you decide to end the game. Again, that’s thanks in large part to Page’s portrayal of Jodie. It has much less to do with “Beyond’s” locked-in sets and scripted sequence of events, no matter how gorgeous or how intriguing they are.

“Beyond: Two Souls” is a stunning masterpiece of craftsmanship and technical prowess. But just like with any other masterpiece, it’s meant to be seen, not touched.

Three spirit-bound stars out of five.

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