There’s something uncannily perfect about there being a foggy, scuzzy soul-hopping cyberpunk game scored by and starring David Bowie.
That same uncanny perfection fits the description of the output of Quantic Dream as an infinite stream of piss, which is apt when ‘Omnikron: The Nomad Soul’ (1999) allows this as a play option.
On first entering the apartment of the police officer Kay’l 669, whose body you have been swapped into in order to save the world, you’ll eventually find a small cubicle toilet. Like any good game developer Quantic Dream decided to make some kind of toilet interaction possible here. So, clicking on the toilet of the future, Kay’l will lean forwards a little, hand to his crotch and the sound of a little stream shortly follows.
Finished? Well don’t worry, you can go again. And go again. And again. As much as you want. Wear those kidneys right out, and you can still come back for more.
With no acknowledgement of bladder capacity, the game indicates that this is ‘infinite piss mode’, a world in which this one man will continue to pee, forever, becoming the entire universe of play. As Kay’l states before you possess him “You are entering a real world”, thus in this world, the infinite stream timeline is an option.
But what about all of Quantic’s groundbreaking, gritty narrative gameplay?
Not to worry, if you ever emerge from the toilet, via bedroom and X-Men style danger room, a woman you’d had a vision of leaning in underwear, telling you she loved you, will appear with a gun in your face. This of course is Telis, the concerned partner of Kay’l (whose body you’re possessing), who you can then make out with hardcore as the police hubby she missed so much. Eventually of course this harpie will be possessed by a demon and lure Kay’l 669 (nice) to his potential death. Of course.
Maybe I’ll just keep peeing.