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Over the course of any fight (except in odd spots where certain powers are disabled) you’ll likely find yourself using every trick at your disposal. Paul's clairvoyant time powers let him see exactly how things will play out before choosing, making it all a bit of a non-event. Though don't expect any Walking Dead-style agonising. You'll influence things like which employees he trusts, and whether he uses PR or oppression to clean up a corporate mess.

These non-violent, dialogue-driven sequences cast you as chief bad guy Paul Serene, and allow you to make decisions that tweak the way the story will play out. Combining satisfyingly tactile gunplay with an array of quick and immediate time-bending powers – most of which, pleasingly, are furnished early on, expanded only by incremental upgrades across the course of the campaign – at its best, Quantum Break’s combat is a fast, rangey, excitingly free-form experience.īefore each episode of the TV show, you'll play a quick 'Junction' section. Starting with the game’s main positive, the core shooting experience is certainly capable of delivering a great time. It’s not that any given element is bad – the TV show segments aren’t great, but you’ve probably seen worse – more that each of Quantum Break’s various constituent parts fail to convincingly connect with the others, leading to a piecemeal, Frankenstein experience unable to use any of its promising but discordant assets to their full potential. Announced as the figurehead for Microsoft’s original Xbox One strategy of blending games and TV together into a delicious, frothy, media milkshake – until MS realised no-one liked how that tasted and cancelled the whole plan – Quantum Break is one-part kinetic, shooting spectacle, one-part static viewing experience, and one part wondering why no-one saw that things weren’t hanging together properly.