You find yourself wanting to interject, maybe to make a mistake and prove that you’re not just dancing along to a puppeteer’s strings. It keeps the game’s tone and purpose clear and consistent. You have a few conversations, start to compose a story, fix a scooter, yet each activity is on rails. The gameplay contributes to the overall effect, of course, but (at least in the demo shared for the Steam Summer Game Festival) player agency is limited. From there, the game begins to unfold.įorgotten Fields is a charming low-poly slice-of-life narrative, and the story is the most powerful aspect. As things start to get too oppressive, there comes a ding-dong on the doorbell, a friend reminding Siddarth that he needs to attend a dinner party. Siddarth begins to piece together a new story, but it’s a painful, halting process. But Forgotten Fields isn’t about a depressing descent into madness and misery. The cramped rooms, the crushing blackness beyond, the awkward movements, the limited interaction possibilities all contribute to a palpable atmosphere. Rather than emphasizing the tension and the stress through extensive dialogue or exposition, Forgotten Fields lets the feelings speak for themselves. It is before this fruitful easel that we find Frostwood Interactive for its upcoming story, Forgotten Fields.Īfter publishing a debut novel, Siddarth D’Souza is bereft of inspiration, the clock ticking down on a grant application for a second book. Even after a hundred stories have been painted upon them, they remain evergreen canvasses, ready to be used again for more portraits of wonder. As Jon Stanford’s first feature length film, however, it is impressive and stunningly shot and edited, indicating his strong directorial ability.The premise is so clichéd: a writer with writer’s block. This means that unfortunately the film is lacking in something that would have really brought it into the fore, and feels much more typical than it should do. While it tries to isolate the two leads by placing them in a forest and separating them from their families, the presence of other characters – particularly Harlequin Jones (played brilliantly by Simon Armstrong) – whilst adding to the story also detract from the feeling of detachment that they are aiming to create. While the film is a good example of this, it is let down by its lack of insularity. The film portrays the suffering of the two leads particularly well, showing how it affects not only those who fought but also those around them. The feature, I hope, will create a discussion about how we should treat service men and women who do suffer from PTSD, as in Britain especially we are lacking in our support after they are decommissioned. Campion also is very impressive in his depiction, creating a character who by the end is reduced to almost child-like behaviours and a heart-breaking moment near the film’s end. There is a good chemistry between the two leads, who create a believable struggling relationship in which Lily is trying her best to assist him. “The feature, I hope, will create a discussion about how we should treat service men and women who do suffer from PTSD” All of this set within green and leafy Shropshire, it jars and evokes a sympathy that would be – unfortunately – more difficult to achieve in a warzone. As he descends into a psychotic break, he starts to do stranger things – from thinking his hand has been cut to a particularly difficult scene in which he forces Lily to kill a chicken. There is a separation between Sam and those closest to him, which Campion plays well by increasingly producing dead eyes as the film develops. Early on, Sam’s sister questions Lily by asking ‘do you think he’s killed anyone?’ and this again highlights the unknown between the soldier and his family. The nostalgic British countryside is a pleasant backdrop despite what is happening with Sam, and firmly brings home the issue of what happens to soldiers after they return. As the story develops, the forest becomes less inviting and Sam (Tom Campion) begins to show more symptoms of PTSD while his girlfriend Lily (Rebecca Birch) tries to help him. There is very much a focus on the scenery, perhaps because director Jon Stanford grew up in the area and has used it in the backdrop of several of his shorts beforehand. Long Forgotten Fields is a film about a soldier returning from war with Post Traumatic Stress Disorder (PTSD), set in a stunning forest in Shropshire.
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