Instead, he is mostly relegated to being a force in Nara’s ear telling her that she “can do this” and to “be true to yourself”. However, Forsaken is nowhere near as likeable or memorable. The best and only real character moments are between Nara and Forsaken, a dynamic similar to BT from Titanfall 2 or Camus from the aforementioned Cloudpunk. Thanks to it never actually adding anything that isn't immediately obvious from the context of the story, it was an annoying background noise more often than not. A small picture of the person pops up in the bottom right, a mechanic also used by indie-cyberpunk game Cloudpunk, but where that succeeded in giving the characters emotion and feeling, Chorus fails to replicate it.Īnother element that landed flat on its face is the whispery inner monologue Nera is plagued by, a la Hellblade: Senua's Sacrifice. This problem extends to the rest of the characters too the only time you interact with them is by flying over to their ship and speaking via radio. As a result, this scene completely misses the mark and comes across as laughable. except this character is never actually seen in person and Nara’s limited interactions with them were over the radio.
There is a moment early on when a character sacrifices themselves and the game attempts to play it as a very serious heartfelt moment.
The character of Nara is decent enough, the problem is that she never interacts with any other characters, Forsaken aside. Unfortunately, the game doesn’t tackle this element effectively and most of the story beats ultimately fall flat. Nara was once an elite pilot and religious zealot for the Circle but is now living in exile attempting to deal with the guilt she feels for her past actions. Chorus sees you take control of Nara, along with her sentient spaceship, Forsaken.