11-11 Memories Retold

Minus some less-than-perfect animation and level design, this is an absolute gem of a game. Go into it for the narrative.

Good and interesting story, with some good WW1 pieces of information. Cool visuals, though it might be very hit or miss for some. I liked the art style for the most part, although it makes collectibles very hard to spot a lot of the time. Gameplay is pretty basic, so there's nothing much to say about it, really. Completion is easy if you follow a guide, collectibles are the only slightly annoying part. The strangest thing about this game, however, is the default movement controls, which, for some reason, are QZSD.

War sucks, we all know that, and this game reminds it!
11-11 Memories Retold is beautiful, it goes beyond just a game, it teaches you about war, but not about shooting, or surviving, or killing, it is a reminder of what happened and what should not happen again.
Gameplay is not crazy, but it is also not just reading, it is about immersion, putting yourself in the foot of others, being the enemy, being the friend, it is about being humans, and understanding that there is no good or bad, the only bad is the situation we are in.
If you like cozy games, living through a story, immerse in it, you will love it. If you do not like reading, or you want to skip everything, do not even try it.
Art style is interesting, it is a way to make us feel part of the unknown, you do not see anyone, but you feel everyone, you have the power to make your own choices, and you decide your end.
I did not like that, by mistake, you can trigger the next scene, and you are not able to come back to it.
For the ones looking for learning about real World War I, the game has a lot of real historical information, you can unlock fragments and parts of real history where you will learn a lot.
Remember that in war there is no winner, we are all losers.

No matter what do not skip this game , it give you unforgettable adventure drama story

story so far : Harry Lambert (Canadian): A young photographer lured by glory, he joins the war effort but finds himself facing its brutal reality and the disappearance of a comrade, with his camera capturing the war's visual story.
Kurt Waldner (German): A skilled engineer whose life is upended when he learns his son is missing, leading him to join the German military in a desperate search, where he uses his engineering skills for repairs and to send messages home.
This experience delivers an emotional message that many Hollywood movies fail to convey. It shows a world set on fire by misunderstandings, fear, and blind obedience. There are no true winners here only broken lives on all sides.
What makes this game exceptional is its reminder that behind every uniform is a human heart. Every character feels real, vulnerable, and tragically caught in a conflict they did not create. The story forces you to reflect, not react
This is a game about empathy, about the cost of war, and about why violence should never be the answer. It does not glorify war it condemns it.
A rare, meaningful experience that stays with you long after the credits roll
gameplay : the gameplay similar to little nightmare , telltale games

keep it in mind this is story game with multiple endings so there is no shooting stuff like call of duty or another war games

This is the first of a number of reviews I'll be doing a few months after finishing the game in question. Tell you the truth, work caught up with me for a bit. I spend my days carefully focusing on precise wording, and when that's at its fullest, spending time trying to put my thoughts on games into words sounds exhausting. The games got played, though – that wasn't challenging – and so I've got a few I want to write about now.
11-11 is plainly a game put together with a tremendous degree of care. Visually, it's incredibly stylised, inheriting both the use of colour and the visible brush strokes from impressionism. The fact that this is retained through the animation process is seriously impressive – and it made sense to discover upon researching for this review world-renowned Bristolian animators Aardman were responsible. The music matches this style perfectly while also evoking the first World War period in which the game is set.
And yet, while I enjoyed 11-11 enough that I don't regret playing it, it didn't grab me as I'd hoped. The aim is clearly to paint (pun intended) a story of the incredible human cost of war; the substantial commonality between the people who, by order of their leaders, would kill each other; and the cowardice of those sending children to die. By all means, it communicates all those things very well – and in particular, the narrative device of dual protagonists on either side of the battle is perfect.
However, it doesn't do enough to make me care about its particular story. Both World Wars have been done to death in essentially every form of media at this point. If you're British, you've also probably had the 'trenches suck' message hammered in repeatedly through formal education too. It takes something really substantial to stand out, and unfortunately, 11-11 doesn't manage that.
Largely this is due to its bland characters. Kurt is a German family man who signed up to find his son after his unit goes missing. Okay – not groundbreaking, but it's good to have an instantly comprehensible motive and one which emotionally resonates with the player. Moreover, this is narratively committed to – every action you take as Kurt is rationally connected to the goal of finding your son.
Harry is a Canadian photographer who ends up on the front line, with Brits fighting as part of the Entente. What's his deal? Well, you see, he clearly shouldn't really be there, he has a sweetheart at home and... uh... he has a camera? The one thing to be said for Harry is that, like Kurt, he is very easy to empathise with. There are plainly very few people who aren't like fish out of water when presented with such unrelenting brutality as that faced on the front lines.
I haven't been overly critical of either of the two designs as they stand alone here. Truth be told, the overall blandness stems from their simplicity. They are canvasses to be painted (pun still intended) on, and at no point do we encounter more than the most basic of motivations, like rats chasing cheese through a maze. It is assumed but not examined that they lack patriotic motivations to engage in conflict (which is bizarre, given how fervent war euphoria was at the outset, and given the strength of propaganda on all sides – again, topics which are not examined). Their respective motivations are reflections of those they love – but their loved ones are not themselves remotely developed as characters (Kurt's family are to a minor degree, but not nearly as much as I'd like given the comparative gluttons for exposition they are).
The one part of their characters which does work extremely well stems from their interaction. Both Harry and Kurt are monolingual (probably – I don't know whether a Canadian called Harry Lambert – and thus presumably from British rather than French Canada – would likely have learned some French at the time). Thus, when they meet, communication is difficult. Meaning often gets lost. And this – cross-cultural nonverbal communication – is a theme which, while it has received some examination, even in the context of WW1 specifically (At Night All Blood Is Black has sat on my bookshelf for some time), is something which is capable of fitting the gaming medium superbly well (Chants of Sennaar, Journey etc).
Sadly, this device is solely narrative and not really explored through gameplay. In fact, gameplay-wise there isn't much to 11-11. I wouldn't expect there to be – it's there to provide a world to be explored, to experience the audiovisual aspects ahead of traditional gameplay challenges. The closest one comes to gameplay is in trivially easy interactive elements (one example comes to mind which is essentially playing snap, except your opponents have the reaction speed of Muhammad Ali after his cognitive decline (and perhaps after his death – I didn't wait around to find out quite how long I would be given to react).
Indeed, while in one's exploration, there are a number of collectibles to be found, my experience of these was often frustration – it was often fairly unclear which route to follow to progress, and collectibles were often placed in dead ends at the end of substantial diversions, such that finding a collectible would feel like a missed opportunity to get to the next bit.
Given how the game plays, more light is shone on the themes, characters and plot.
I have made my thoughts on the themes and characters clear already, but by contrast, the plot is quite good. It's paced well, and has a reasonable number of twists which are unexpected but don't fall to feel conceited. The finale in particular is done excellently, and might have garnered a slightly more favourable review had it been more prominent in my memory when I wrote this review.
While trying to avoid spoilers, you will betray while feeling entirely justified, and be betrayed while wondering if you would've done the same thing. You'll sacrifice while wondering if you're making a mistake, and fail to make sacrifices you feel you will regret. There is a light amount of choice involved but as I understand it, it has minimal significance prior to a small number of alternative endings, all of which I believe to be broadly similar.
However, there's also missed opportunities. I've talked already about the lack of theme and character development; but there's an extraordinary number of missed opportunities to add narrative depth to the world the game exists in. In every episode, there's a large number of characters standing around, all of whom are interactable. They generally have one line to say on repeat, and none of it tells you much about them or your surroundings. Likewise, there's room for depth in narrative exposition in what you find around the world – and again, this goes unexploited. It's sad to see, as it's clear that the level of care in audiovisual design I mentioned at the outset isn't replicated in the game's writing.
Truth be told, there's still nothing fundamentally wrong with 11-11. Its issue is that everything which is immediately apparent is done to an incredibly high standard, and that creates expectations which aren't met elsewhere. However, if you're after an emotional war story in video game format, it'll scratch that itch raw; and there's enough to enjoy that if you can avoid thinking about what could have been, you'll have a good time.
6.5/10 (I wish I could post a review without giving a thumbs up or down)

Review from 2020:
A beautiful story about two soldiers on either side of the fight during WWI. It was sort of like a Telltale game, although there wasn’t meaningful choices until the end of the game. The art style, characters and their voice actors were top notch.

11-11 Memories Retold is a profoundly emotional narrative-driven adventure that offers a unique and poignant perspective on World War I through the intertwined stories of two very different characters. Developed by Aardman Animations and Digixart, and published by Bandai Namco Entertainment Europe, the game stands out not only for its compelling storytelling but also for its striking visual presentation, which resembles a moving oil painting. This artistic choice immediately sets the tone, creating a dreamlike atmosphere that emphasizes memory and reflection rather than traditional war game realism. The painterly aesthetics lend the experience a timeless quality, making the harsh realities of war feel both distant and intimately personal.
The story centers around two protagonists: Harry, a Canadian photographer sent to the front lines, and Kurt, a German technician working within the artillery corps. Their paths cross as the war unfolds, and through their eyes, players witness the devastation, camaraderie, and moral complexity of the conflict. What distinguishes 11-11 Memories Retold is its focus on the human experience rather than grand historical battles or military strategy. The narrative delves into themes of loss, hope, and the search for meaning amidst chaos, often highlighting the shared humanity of individuals on opposite sides of the conflict. Dialogue and interactions are nuanced and subtle, avoiding melodrama while maintaining emotional depth, which helps players connect deeply with the characters and their struggles.
Gameplay in 11-11 Memories Retold is designed to complement the narrative rather than dominate it. It primarily involves exploration, puzzle-solving, and environmental storytelling, with each protagonist offering a distinct playstyle. Harry’s sections focus on photography, where players must capture key moments that reveal more about the story and the world around them. This mechanic is not just a simple mini-game but a narrative tool that encourages reflection on what is seen and what is remembered. Kurt’s sections, in contrast, emphasize stealth and light puzzle elements, representing his more covert and mechanical role in the war effort. The pacing is deliberately slow and contemplative, allowing players to absorb the story and atmosphere fully, although some might find the gameplay light compared to more action-oriented war games.
The voice acting and sound design are exemplary, further immersing players in the emotional landscape of the game. The cast delivers performances that are both restrained and powerful, capturing the weariness, fear, and fleeting moments of joy experienced by those caught in the war. Coupled with a haunting musical score by Olivier Deriviere, the audio elements evoke a deep sense of nostalgia and sorrow without overwhelming the narrative. Ambient sounds—from distant gunfire to the rustling of leaves—are carefully woven into the soundscape, enhancing the realism and emotional resonance of each scene.
Visually, the game is a masterpiece. The oil painting style, inspired by impressionist artists, creates a soft-focus effect that blurs harsh lines and makes every frame feel like a living artwork. This choice does more than provide aesthetic appeal; it serves as a metaphor for memory itself—fragmented, subjective, and sometimes beautiful despite the tragedy it holds. The environments range from the muddy trenches of the Western Front to quiet moments in small villages, each crafted with painstaking attention to detail that invites players to linger and explore. Character animations are fluid and expressive, complementing the emotional weight of their dialogue and interactions.
Despite its many strengths, 11-11 Memories Retold is not without minor flaws. Some players may find the narrative’s pace slow, especially if they are accustomed to faster-moving games or those with more traditional gameplay loops. The puzzles are generally simple, serving more as breaks from storytelling rather than core challenges, which might disappoint those seeking more interactive complexity. Additionally, while the dual narrative is powerful, some may wish for more direct interaction between the two protagonists, as their stories occasionally feel parallel rather than fully intertwined. Nevertheless, these issues are relatively minor and do little to diminish the overall impact of the game.
In conclusion, 11-11 Memories Retold is a rare and beautiful experience that transcends conventional war game tropes to deliver a moving exploration of humanity during one of history’s darkest periods. Its unique art style, carefully crafted narrative, and thoughtful gameplay combine to create an emotional journey that resonates long after the credits roll. This is a game best suited for players who appreciate storytelling, atmosphere, and reflection over action, and who are willing to engage with a more contemplative and artful interpretation of war’s impact on individuals. For those seeking a meaningful, artistically rich, and emotionally profound game, 11-11 Memories Retold is a compelling choice that stands as a testament to the power of interactive storytelling.
Rating: 8/10