This is at least partly due to the fact that they live in real life Gone Home is not a fantasy or sci-fi game, there are no magic powers or technologies that the characters' lives revolve around, just mundane everyday experiences. Thinking back on Gone Home's story, I find myself remembering the characters as if they were the players in a novel I'd just finished reading. The Fullbright Company, I think, wanted to find out, so it removed all the cake.įor me, it was a remarkable success. One way to figure out exactly how to make it work might be to split those two components up and see what happens when they're apart. The dual action and storytelling aspects of a game like BioShock could potentially enhance, rather than distract from each other, although that's still a work in progress for the gaming industry. (I should point out that there was a moment in Minerva's Den that choked me up to an extent that nothing in Gone Home did.) Maybe I was misreading the nature of my own experience? There is certainly a strong argument to be made that challenging, gating gameplay can enhance a storyline – that the story would have more impact on the player if he had to expend mental energy to get there in the first place. Every time something started firing at me, I just wanted to kill it as fast as possible so I could get some peace and quiet and keep trudging around the rooms finding more clues to the story. I didn't wish that there were enemies in Gone Home I wished that there were no enemies in Minerva's Den. Both games really are quite similar in the BioShock expansion you're exploring a small part of the underwater city Rapture, listening to audio diaries and reading the signs and notes you find lying around to piece together who these characters are and why they're in conflict. For me, the answer to how I felt about Gone Home lay submerged in Minerva's Den.
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