![]() Campo Santo has taken away the option to be flawless. There is no risk.Ĭampo Santo, the game's developer, doesn't want to offer me this path with Henry. The only outcome is that I experience the relevant plot variant. It can be a struggle to behave well in real life, so being able to pick obviously good choices in games is cathartic. Hell, I've literally sacrificed my digital life for the greater good in other games. My characters are saccharine moral arbiters saintly and self-sacrificing. I'm the kind of player who plays as a good person. There was no option to behave selflessly, to move with her, and this bothered me. I could either dissuade my wife from taking her dream job or I could insist that she commutes. About half-way through the prologue, you're asked how you respond to Henry's wife Jules being offered a job in a place to which you would not like to move.īoth options are inherently selfish. Some were innocuous, such as choosing to own a big dog or a small dog. I'm so accustomed to games either offering myriad choice or no choice at all that it was momentarily jarring to be asked to dictate events within the limited degrees of Henry. Every choice ends up with Henry in the woods, running from his problems. My stamp on the character's backstory was inconsequential. You're given stark either/or options and they're restrictive my agency was minimal. You're asked to make some choices here, and my first reaction was disappointment. You're presented with narrative vignettes interspersed between snippets of you-as-Henry trekking along a gorgeous mountain trail. You can read Polygon's review as well.įirewatch's opening resembles a Twine game or a Choose Your Own Adventure book. ![]() The end of console generations? Or just a change i.Warning: The following will contain Firewatch spoilers, right up to the game's ending, so it's probably better if you go and play the game before reading this.About 'adjective' games and responsibilities.Personally, I feel that their little story was to reinforce the events of the main plot in order to provide a sense of potential clarity to the player. ![]() depending on whether you're feeling charitable or not. However, it was either a further reinforcement of the themes of loss, longing and nonfulfillment (and miscontruing events and actions) in order to guide the player towards the true meanings of the events that unfold during the plot or they were a bit too much of 'the same' sort of story telling laid next to the story of Henry/Delilah and Ned/Brian. This was an interesting little piece of flavour to the world and helped add even more human elements to the game. It seems these two guys were like ships in the night, always missing each other and leaving notes that might take many weeks or months to be picked up. One of them appears to be gay and fancies the other whilst the other is clueless and keeps talking about getting with a woman in their social circle. The last two main characters are the two park Rangers, Ron and Dave whose little side story is really sweet and a little sad. He's more of a mystery and is demonised by Delilah from the very beginning in her descriptions to Henry over the radio. By comparison, Ned is characterised by the lack of his presence in the world the player sees. The characterisation of Brian is less direct but in some ways more powerful due to the use of the 'ghost story-esque' introduction from Delilah for both him and Ned along with the environmental leavings of his things. You really got the sense that Henry was a reluctant conversationalist at the beginning of the story and, just like him, the player has a hard time understanding what Delilah is about. Not only are they well-written but also well-acted with Henry and Delilah having a real sort of weird chemistry going on. With a story this good, the characters are pretty much guaranteed to be well-written as well. It was a nice touch to get to see Henry, Ned and Brian in the credits using the developed camera shots.
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