![]() ![]() I didn't feel that this was the case in Gone Home. The idea is that in a Walking Simulator game the player could be successfully replaced by an on-rails camera and the end result would be the same. In Everybody's Gone to the Rapture, I'd go further than this - the player's involvement is an imposition that the creators at The Chinese Room couldn't work out a solution to. When people derisively accuse a game of being a Walking Simulator, they're talking about a sense that the player's involvement in the game is unnecessary. Ignoring the hilarious instance where the game's creators forgot to tell anyone about the 'walk slightly faster' button, Everybody's Gone to the Rapture appears to unlearn decades of knowledge about interactivity, narrative storytelling and even optimisation. It redefines the concept of the Walking Simulator. This is not the case with Everybody's Gone to the Rapture. I could see what there was to like about Gone Home as much as I could see what people disliked. It's endearing thanks to strong, absent characterisation and fairly solid plotting, and so people connect with the house, the characters and the game itself. You arrive home and you experience a person's life as well you might by walking into a vacationing family's home and ruffling through their shit. In Gone Home, you find notes from their sister. The player interacts by looking and learning, and forward momentum is acquired directly via forward momentum. What people are talking about when they declare something a Walking Simulator are the popular narrative-focused games where the player meanders through a game-world learning more about it as they go. Watch Joaby's full video review from his YouTube channel embedded above
0 Comments
Leave a Reply. |