

He winds up getting into town late and just barely makes it to the reception, where Nick’s twelve-year-old daughter Joan-Sam’s goddaughter-begs Sam to investigate her father’s death. He’s only returning now to attend the funeral of his best friend, Nick, who has died unexpectedly after the ceremony he plans to depart again without looking back.
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Two years ago Sam left his hometown of Basswood, West Virginia after a series of personal and professional collapses, cutting off all contact with friends and loved ones and rebuffing their attempts to check on him. The story starts out promising enough, with several mysteries in the offing and a compelling reason to investigate. On the one hand, it’s a production of DONTNOD Entertainment, a studio with a deserved reputation for releasing quality titles featuring deep, character-centered stories, compelling mysteries, and creative choice-based mechanics, while on the other. It’s appropriate, then, that Twin Mirror itself exists in a state of contradiction. They’re two faces of the same man, and to consider one without the other is to have an incomplete understanding of who Sam is. Outwardly cold and analytical, Sam is nonetheless in constant conversation with his Double, a sort of mentally constructed doppelganger who’s meant to embody all the warm, wise and compassionate feelings that don’t come naturally to him. Duality is a central theme in Twin Mirror: the idea that the way a person looks, feels and behaves under one set of circumstances might be wildly at odds with who they are in another.
