At key moments, you must press and hold increasingly arcane combinations of buttons, triggers and stick-gestures, a process akin to playing Twister with your fingers. Gameplay-wise, despite the cleverly conceived controls, it remains very much rooted in the venerable point-and-click adventure genre. Heavy Rain gets closer than any previous game to conveying the sense that you are controlling the protagonists in an interactive movie – firmly entrenched in the film noir genre, its storyline (twist-laden, naturally) is able to suck you in completely, thanks to the most convincing facial and bodily animation yet seen in a game. When Mars's remaining son becomes his latest kidnap victim, they work out that he will stay alive until six inches of rain have fallen an unrelenting monsoon, documented in terms of rainfall inches, adds a sense of urgency. Over the course of Heavy Rain, you take control over three other characters – insomniac photographer Madison Paige, FBI operative Norman Jaden and private eye Scott Shelby – all of whom also seek the Origami Killer. Soon, you're introduced to another innovative game device. Soon, though, things take a turn, when one of Mars's sons is run over during a disastrous mall visit, and he ends up divorced, in a grim flat, trying to reconnect with his remaining son, while a serial killer dubbed the Origami Killer embarks on a spree. As you guide architect Ethan Mars through a period of family life, the novelty lies in performing mundane tasks. Heavy Rain almost instantly telegraphs its differentiation from its gun-obsessed peers by encouraging you to brush your just-awoken character's teeth and shave him, using right-analogue-stick gestures, prescribed button-presses and shakes of the motion-sensing PS3 controller, which (very vaguely) correspond to their real-life counterparts. T he death of originality in modern video games has, it seems, been greatly exaggerated.
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