Her plight is driven by an unwanted tethering to a Poltergeist-like spirit she calls Aiden, whom you can also control depending on the circumstance. Beyond dances between these chapters: Jodie as a little girl, Jodie as a stubborn teen, Jodie as a young woman, Jodie as a little girl again, and so on. Jodie’s story is told in chapters out of chronological order across 15 years of her life. She’s a character wonderfully realized by actress Ellen Page, who proves to be much of Beyond’s saving grace. Unlike Heavy Rain before it, which dipped into silliness but was at least thematically consistent, Beyond’s only consistency is its focus on Jodie Holmes, the game's tragic heroine. Beyond is an opus – a muddy and unfocused one, but an opus – packed with so much plot it feels like Cage has indulged his every whim and want in a single project. Indeed, if there was ever a game that suggested that Cage is a frustrated film director at heart, it’s this one. But Beyond is a game that made me feel too much like a passive participant, which made “playing” it a very confusing and unrewarding experience. This is principally because Beyond: Two Souls takes the vision that writer/creative director David Cage and his team at Quantic Dream have held onto for so long - that interactive drama is the way to make gamers conditioned to meaningless violence feel something in the depths of our brittle souls - to unprecedented extremes. If you are the type who scrolls down a review to see the score before reading the text, know this first: I have never found assigning a number to a game so difficult.
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