Welcome to the latest edition of The RPS Time Capsule, where members of the RPS Treehouse each pick one game from a given year to save from extinction while all other games fizzle and die on the big digital griddle in the sky before blinking out of existence. This time, we're turning our preservation mitts on the year 2012, a year absolutely stacked with some pretty stellar releases. But which ones will make the cut and be safely ensconced inside our cosy capsule for future generations? Come on down to find out.
]]>Influential first-person exploration game Dear Esther released commercially 10 years ago this month. But before it was on the front page of Steam and selling like hotcakes, it was a Half Life 2 mod cooked up by designer and writer Dan Pinchbeck and a group of friends. “I was doing a PhD, weirdly, on first person shooters,” Pinchbeck says. As part of that, he had been reading a lot of game studies, but had mixed feelings about sitting back and talking about what could, should, or ought to be done in games. “I was like, ‘Well, we could just build [something],’” he says. “That felt much more in the spirit of games as a medium anyway.”
]]>Ten years ago today, the commercial remake of Hebridean gloom simulator Dear Esther launched. But this year, we're the ones getting presents. The developers, The Chinese Room are giving Dear Esther away free on Steam for 48 hours. Grab it by Wednesday and it's yours for keepsies. All the gloom and guilt and that wonderful, wonderful lonely island are yours! Happy birthday, dear Dear Esther, happy birthday to you.
]]>BBC Radio 3 are getting stuck in to the world of video game music beginning today, with composer Jessica Curry (whose work you’ll hear in Dear Esther and Everybody’s Gone To The Rapture) beginning her new show Sound Of Gaming. It’s good listening, particularly if you, like me, can’t stand to have lyrics on while putting words to paper (or internet) lest it become a tangled mess.
]]>Congratulations, videogames. You're high culture now. Jessica Curry, the composer behind Dear Esther and Everybody's Gone To The Rapture, is bringing gaming to BBC Radio 3 with Sound Of Gaming, entering indie bops and orchestral jams into the station's very-quite-serious musical collection later this month.
]]>Today's Humble Caffeine Bundle is chock full of very good games for very little money, but a little hard to categorise. United under the banner of Caffeine - a "social broadcasting platform for gaming", not the life-giving stimulant - there's eight games here, each one representing a wildly different genre. We've got the Metroidy Headlander, platform roguelike Gonner, party game tank shooter Treadnauts, a historical novel adaptation and even a ninja stealth sim all up in here. There's only (in my opinion) one game that's not immediately worth your attention. See the full lineup and trailers below.
]]>Have You Played? is an endless stream of game retrospectives. One a day, every day, perhaps for all time.
Watching walking simulators evolve from the waffling emptiness of Dear Esther into remarkable narrative adventures like Firewatch and What Remains of Edith Finch has been one of my favourite spectator sports as a games journalist. The Vanishing of Ethan Carter is one of the better stepping stones on this long and winding road. It has players assume the role of psychic detective Paul Prospero, who arrives in the gorgeous Red Creek Valley on the trail of a missing boy.
]]>The Chinese Room, the studio behind Everybody's Gone to the Rapture and Dear Esther as well as Amnesia: A Machine for Pigs, have laid off their development team and are "going dark" for a bit while they figure out "what happens next". Financial and personal pressures were too much, see, so they're taking a break. When they come back, they say, it won't be to make walking sims. I don't know why they mention walk 'em ups after Pip and I settled once and for all that Dear Esther and Rapture are not walking simulators, but there you go.
]]>The 'Landmark Edition' of seminal walky story Dear Esther [official site] will launch tomorrow, developers The Chinese Room have announced. It's basically the same game, but remade in the Unity engine with a few tweaks and a director's commentary. It'll be free for everyone who already owns the original Dear Esther, and it sounds like it'll be separate rather than strictly an 'update', preserving that Source engine version and mod heritage. That's nice.
]]>Alice and Pip have been off wandering their way through digital worlds from Proteus to Sacramento and are now hobbling towards a shared definition of a walking simulator. Find out what conclusions they've reached and why their definition categorically does not include Dear Esther!
Pip: Alice, when I asked you to recommend me your favourite walking simulators so I could go on some digital expeditions what would you say were your criteria?
Alice: That… they surfaced readily in this trash heap of a memory? Which meant they struck me for some reason. I think I picked walking simulators with a spread of form and tone, all quite different but all games where you can mostly just walk around. Some fun! Some colourful! Some spooky! Some so linear they're literally on rails.
]]>It's been a good four years since the remake of Dear Esther [official site] took us to a spooky-ooky Hebridean island but we're going a-wandering again soon. Remastered audio, an audio commentary from its makers, and more are coming our way thanks to a new version created for Dear Esther's console release as a 'Landmark Edition' - which will be a free update on PC.
]]>The next game from the creators of Everybody's Gone to the Rapture, Amnesia: A Machine For Pigs and Dear Esther will be a systems-driven isometric adventure, inspired by tabletop RPGs and wargames. I spoke to The Chinese Room's studio director Dan Pinchbeck about the game, Total Dark, and he explained that he's wanted to make a game driven by RPG-style mechanics for a long time.
As well as providing us with some of the first details about Total Dark, he discussed the continuing influence of Esther, and the ways in which 'walking simulators' are returning to their first-person adventure roots.
]]>Everybody's Gone to the Rapture [official site], the latest from Dear Esther and Amnesia: A Machine for Pigs developers The Chinese Room, is finally heading to PC. I spoke to studio head Dan Pinchbeck earlier this week and he told me that the completed PC port has now been delivered to Sony, who will be acting as publishers. Sony's role means they'll be responsible for selecting a release date and marketing the game, as they did with Helldivers when it came to PC late last year.
But it's coming. The rapture is coming.
]]>It always seemed likely that The Chinese Room's The-Archers-Do-The-Apocalypse follow up to Dear Esther would get a PC release eventually, both given that it was originally planned to before Sony waved a bunch of cash at them and because PC is surely its most natural home. However, the extent of Sony's involvement created a great deal of doubt about whether they'd possibly de-exclusify it.
Earlier rumours that Everybody's Gone to the Rapture [official site] had showed up in the Steam database are now being compounded by more apparent evidence, though absolutely nothing is for certain until there's an official announcement. I really, really hope it's true, though.
]]>1) Passivity makes me fidgety. Even in a film, TV show, gig or novel I'm hugely enjoying, my mind will at some point drift to the clock, wondering how soon until it ends, how soon until I can stand up or talk or check something or eat something or go somewhere. Awful, I know. Games, broadly, need me to be doing something most of the time, and that is the greatest weapon I have against a propensity to boredom that I am not at all proud of. This is also why I start to go spare in something like StarCraft II: Legacy of the Void, as it spends so much of its duration pummelling me with particularly low-grade passive storytelling, and my frustration that I have to watch this nonsense instead of do things for myself goes through the roof.
]]>Warning: in this piece I'm primarily talking about Everybody's Gone To The Rapture, which isn't out on PC as yet, though I'll willingly devour at least one item of clothing if it doesn't walk this way eventually. Anyway, I talk about STALKER and Dear Esther too, so everything's OK.
Playing The Chinese Room's new game, Everybody's Gone To The Rapture, what strikes me almost immediately is not the mystery, the science fiction trappings or even the extreme prettiness. It's that I'm in England. A very particular England.
]]>Perhaps the prototypical walking simulator, Dear Esther is a source of some division among the RPS Hivemind - John's not at all taken with it - but I often catch my mind's eye returning to its maudlin Hebridean coast.
]]>I've discovered a novel way to conduct interviews: tweet vaguely about something you're interested in, then wait for two game designers you like and respect to have a chat about it and send you the logs. I carefully laid my bait: "I use 'walking simulator' warmly and earnestly. I adore walking around looking at stuff and reflecting. Walking is great! Sim it to the max."
The trap snared my chums Ed Key and Ricky Haggett. Ed created walking simulator Proteus while Ricky is working on Hohokum, a dicking-about sim for PlayStations which might, with fewer puzzles, be called a walking simulator. Unsuspecting, they discussed Proteus, the 'genre,' exploring and wandering, and what a "walking simulator" even is. Afterwards they decided "Just email it to Alice," rather than blog about the chat themselves. "She can turn it into 'news,'" they said. Suckers!
]]>As I watched early but surprisingly polished footage of The Old City, I was stricken by a few standout qualities: 1) it's a very handsomely atmospheric game, wreathed in glittering flecks of Dishonored and Half-Life, 2) there are dying whales and I feel very bad for them, and 3) the narrator delivers his lines with the stop-go car crash thunderstorm cadence of William Shatner. The narrator in question is very clearly not good ol' Captain Kirk, but still. Phrasing much of what you say such! That it reads like this! Evokes the famed starship captain/lawyer/Priceline mascot! Whether you intend it to or not! The whole package really does seem quite lavishly produced, though. It's a story-focused exploration game about... well, an old city, presumably. Also philosophy. Developer PostMod Softworks is being pretty vague beyond that, but there's plenty to watch, if nothing else.
]]>SOMA didn't scare the scuba suit off me, but I did find a creeping sort of potential in its soaked-to-the-bone corridors. Amnesia: The Dark Descent 2 this ain't. Or at least, it's not aiming to be. Currently, it still feels a lot like a slower-paced, less-monster-packed Amnesia in a different (though still very traditionally survival-horror-y) setting, but Frictional creative director Thomas Grip has big plans. I spoke with him about how he hopes to evolve the game, inevitable comparisons to the Big Daddy of gaming's small undersea pond, BioShock, why simple monster AI is better than more sophisticated options, the mundanity of death, and how SOMA's been pretty profoundly influenced by indie mega-hits like Dear Esther and Gone Home.
]]>Valve might prefer to be extra super special secret quiet about it, but they do, in fact, still make games. And games, well, they tend to be more enjoyable when they're easy on the eyes. Now that I have cracked the eons-old mystery of Why Games Have Graphics, let's get down to business: Valve has scooped up Mirror's Edge and Dear Esther gorgeous vista warlock Robert Briscoe. Good for Valve, because Briscoe is astoundingly talented. But wait, wasn't he in the process of moving Dear Esther's painterly world into Unity's less-costly frame? What's going on there?
]]>Bad news for anyone holding out for Dear Esther 2: The Legend of Jakobson's Gold - The Chinese Room's next step for their maudlin, poetic Taking A Walk game is to remake it. Again.
In practical terms - i.e. how this will affect people who want to play the game - this is perhaps a bit of an unstory, but the shock choice to port the game from Source to Unity is a fascinating peek behind the developmental curtain. Why, after using it for the first two editions of Dear Esther, would programmer Robert Biscoe now want to leave Valve's engine behind?
]]>I'm firing blind to some degree here, as 1) the trailer's in Italian 2) the website's poorly translated and 3) the demo they sent me a) isn't made public yet and b) doesn't include much more than going for a walk.
However 1) That and the cheesy music reminds me of Inspector Montalbano 2) well, this one's no bastion of English grammar either 3) a) most of it's in the below video b) I like going for a walk.
While Dear Esther, Proteus and Gone Home comparisons are likely unavoidable, Forgive Me is more precisely a semi-open world adventure game about suicide, mystery and a spooky, possibly mystical tower in some very pretty but bleak countryside that reminds me a little of Morrowind.
]]>This is the latest in the series of articles about the art technology of games, in collaboration with the particularly handsome Dead End Thrills.
Robert Briscoe is obviously not the only great environment artist in games, and it's a bit weird to say he has a singular portfolio after working on just two titles. What makes it a lot easier is if you think in terms of levels: The Shard, Jacknife, Reflex, Velocity (from Mirrors Edge and its DLC); The Lighthouse, The Cave, The Beacon (from Dear Esther). All masterpieces up there with BioShock's Welcome To Rapture, Half-Life 2's Point Insertion and - quick, think of something slightly less distinguished to prove worldliness - that level in Robocod made out of Penguin bars.
]]>Hello, everyone. I come bearing some extremely depressing news. The rapture's happening soon, but not to us. Hm, well jeez, when I phrase it that way, it doesn't sound terrible at all. What I mean to say is, Dear Esther developer thechineseroom's next non-Amnesia game, the super fascinating Everybody's Gone To The Rapture, is no longer coming to PC - at all, for the foreseeable future. Sony's nabbed it for its burgeoning army of indie exclusives, so I guess that means it's not allowed to love us anymore. I reached out to thechineseroom's Dan Pinchbeck, and he confirmed the bad news.
]]>You know, I never really thought about it before, but I think Proteus and Hotline Miami are videogame inverses. One's about languidly strolling around a neon-bubblegum dreamscape paradise while the other's about blink-and-you'll-be-on-the-receiving-end-of-it murder in an entirely different kind of neon-bubblegum dreamscape "paradise". They are one anther's bizarro twin, eternally opposed but forever intertwined. Also, they're in the latest Humble Indie Bundle together, which is neat. And neater still? Probably the fact that they're joined by Little Inferno, Awesomenauts, Capsized, Thomas Was Alone, and Dear Esther. Yeah, eight is pretty great. Or something.
]]>Spate looks positively bonkers. I mean that both in terms of the gloriously bizarre sensibilities that peer - with one lidless, unblinking eye - from the depths of its island's mysterious nethers and the relative sanity of its grief-stricken main character. He's a noir detective who's dealing with the death of his daughter, so he's taken up a powerful absinthe habit to numb the pain. Naturally, it manifests as a gameplay mechanic. "At the click of a button the character can take a swig of absinthe. This temporarily gives the player higher jumping and faster running abilities. But, it also makes him hallucinate, which changes the world both visually and physically. The mechanic is meant to mirror the emotional seesaw battle of drinking." Heavy stuff. Perhaps too heavy? I suppose we'll see. For now, though, peep a couple of incredibly impressive-looking trailers after the break.
]]>I preemptively think I'm gonna be sick. Don't get me wrong: there are few things in this world I want more than Oculus Rift virtual reality for my mad dash through Mirror's Edge's theme park of parkour, but now that it's probably going to happen, I realize that I should probably bid farewell to any lunches I've had in the past couple months. And who will I have to thank for my sudden bouts of violent nausea? Interestingly, it won't be EA. Instead, a third-party toolset called Vireio Perception is primed to add Rift support to Mirror's Edge and other older titles.
]]>This is the very first time that you have been here before. The whales are watching you. They know what you did. What did you do? Ask the whales but they won't tell you because they are silent. Mysteriously silent. You probably killed someone and it might have been an accident but there's almost definitely blood on your hands or lipstick on your collar, or a ghost in your shoe. The hills have the answers but they're as quiet as the whales. Only the wind has a voice and it whispers so quietly that all you can make out is a name. Esteban. Download Dear Esteban to learn the truth about your past and that girl with the eighties hair. It's free.
]]>Speaking to Joe Martin, the artist behind the fabulously-pretty island of Dear Esther, Robert Briscoe, has announced he's embarking on a one-man project of formidable ambition. Here's the quote: "I fancy doing something on my own, something entirely of my own creation. Dear Esther was a great project...[but] this time around? I've always had this idea in my head of this sort of open-world, STALKER-like game without weapons. With a horror aspect to it. I've never had the opportunity to it because the scope of it is so huge...I can't even believe I'm contemplating doing it! It's so unreal...but this is the whole thing with me: I want to see if it's possible for just one person to make a game on a scale that's probably never been done before..."
]]>"A People's History" is a three part essay series by Robert Yang. He told us that he wanted to write an alternate view of the traditionally accepted history of the FPS genre as entirely dominated and driven by the mainstream, commercial industry, and to "argue for a long-standing but suppressed tradition of non-industry involvement in the first-person genre". This is part one.
In 1994, the New York Times filed a review of a first-person game under its "Arts" section, proclaiming it to be "a game that weaves together image, sound and narrative into a new form of experience." It sold millions of copies and inspired dozens of imitators. It seemed poised to define an era.
That game was Myst and it failed to define an era. Instead, a game called Doom came out three months after Myst -- and then it shot Myst in the face.
]]>When I beat the absolutely wonderful Thirty Flights Of Loving over the weekend, I had precisely one immediate reaction: “Wait, what just happened?” I cannot even begin to tell you how much that excites me. But then I decided to write an article about it, largely because one of my greatest passions in life is defying nonsencial figures of speech. At any rate, Thirty Flights Of Loving packs loads of information into not-even-30-minutes with hardly any dialog or exposition. But, in some ways, it's even more of a supposed “un-game” than, say, Modern Warfare 3. I mean, all agency is illusory. Without spoiling anything (note: that'll happen a little bit after the break), you're along for the ride – and that's it. In a couple bits, it doesn't even matter where you walk. The game will just jump-cut you to your intended location.
So why is it one of my absolute favorite games – and yes, I one hundred percent believe it's a game – of the year? Because it made me think about what happened. No, scratch that. It required me to think.
]]>Dear Esther's brilliantly amorphous plot made me feel like I'd hit my head and - for the same reason that television's left me deathly afraid of light flicks on the forehead or especially hard rainfall - acquired horribly debilitating amnesia. That, however, is probably where the similarities between Amnesia: A Machine For Pigs and Dear Esther end, so thechineseroom's also giving its more experimental spirit room to breathe with Everybody's Gone To The Rapture. It is, of course, about the end of the world - as these things so often are. But this is far from typical videogame pre/post/postmodern apocalypse fare.
]]>Last week, I ran the first half of my recent chat with Steve Gaynor, formerly of Irrational and 2K Marin, and now of indie studio The Fullbright Company - who are working on mysterious, ambitious, suburban-set non-combat first-person game Gone Home. Being as I am an investigative journalist par excellence, I decided that it would be appropriate to spend the second half of the interview forgoing questioning entirely in favour of simply shouting the names of other games at him. Games like Myst, Amnesia, Jurassic Park: Trespasser, Journey and Dear Esther. Rather than hanging up in disgust, he offered fascinating, thoughtful replies on the limits of interactivity in games and the sort of scale Gone Home is intended to operate on.
]]>Bundles, crowdsourcing - these are not the only ways to bring in suitable monies for an independently-developed videogame. Fascinatingly strange IGF Technical Excellence award-snatcher Antichamber - as experienced by one John Walker here - has been signed up as the seventh beneficiary of the Indie Fund. That's the investment initiative arranged by the likes of 2D Boy, Jon Blow, Capy and thatgamecompany. It follows in the proud footsteps of Dear Esther, Qube, and Monaco, and is to receive the funding necessary to push it over the finish line for a PC and Mac release later in this year of our endless, ursine lord, 2012. If it works out as well as it did for Dear Esther, both developer Alexander Bruce and the Indie Fund team will be terribly happy.
]]>Onlive and the IGF are spooning for a fortnight. The sensual lovers are celebrating the Indie Gaming New Year by giving you access to 30 minute demos of 16 IGF finalists. The alphabetically sexy list of games is: Atom Zombie Smasher, Be Good, Botanicula, Dear Esther, Dustforce, English Country Tune, Frozen Synapse, FTL, Lume, Nitronic Rush, Once Upon a Spacetime, POP, SpaceChem, To the Moon, Toren, and WAY.
]]>As it was rumoured, so it shall be. Dear Esther's lead writer, Dan Pinchbeck, has revealed to Joystiq that thechineseroom are working on A Machine For Pigs, set in Amnesia's world, although it won't be a direct sequel to the dimly lit descent. It will, however, star a wealthy industrialist called Daniel Plainview Oswald Mandus, who returns from an ill-fated trip to Mexico in 1899 and finds that his body is plagued with fever and his mind is plagued with nightmares that revolve around an ominous machine. Possibly for pigs. Probably not some sort of mechanical pig disco and daycare centre.
Breaking news, if you were reading the internet a couple of days ago. Following a brief ARG, a tiny, hopeful squeak of detail has emerged for the next game from Amnesia devs Frictional. Frankly anything is more useful than 'it might be set in China, possibly', but in this case we have a couple of pieces of creepy, bloody concept art and a possible title.
That title? 'A Machine For Pigs.' Which sounds ever so slightly like a change of direction for George R.R. Martin's reader-mocking novels, but also appears to refer directly to the abbatoir-esque scenes in the concept art. But is that the real name, or just a codename? I've done some research into animal-slaughtering equipment and come up with some EXCITING ALTERNATIVES.
]]>They said it would never end. And then, on Saturday, it did. We've been posting our series of chats with the many splendid finalists in this year's Independent Games Festival over the last couple of months, and, with the exception of English Country Tune (dev was worried about sounding boring), Mirage (dev didn't reply) and Fez (dev wouldn't confirm the possibility of a PC version) we managed to get mini-interviews with all the PC/Mac indie developers in the running for a gong.
In case you missed a few, didn't understand what the hell it was all about or just like looking at neatly-ordered lists, here's the complete series for your relaxed perusal. It's a fascinating and diverse bunch of games in the finals this year, and if nothing else, it's a rare chance to see what 18 different developers would say to the monsters in Doom if only they could talk to them.
]]>Dear Esther, the minimalist first-person explorer, made its costs back in the first five and a half hours on sale. A quite remarkable achievement for an indie game, and a rather impressive vindication of The Indie Fund, the gathering of successful indies who are funding new projects. It has sold 16,000 copies in its first 24 hours, and made back all $55k they'd invested in the game before it was even six hours old. And by the rules of The Indie Fund, that means the developers thechineseroom are now making profit. You can read all about how it went down here. Alec adored Dear Esther, as he writes about here. I didn't think it was nearly so good, as I explain here.
]]>John’s already presented his verdict on thechineseroom’s first-person ghost-esque story Dear Esther, but I’ve a thing or two I’d like to say about it myself. And not just because I like to oppress John at any opportunity I get. It's because Dear Esther really did work its dark, metaphysical magic upon me.
This write-up will contain spoilers unbound; do not read on if you haven’t played (and intend to play) Dear Esther.
]]>I come to Dear Esther completely blind. For some reason I've chosen to read nothing about it at any point, perhaps instinctively opting to preserve myself against knowing everything about at least one game before I get to play it. I've heard the overwhelmingly positive, and grumbles of hype and overrated content, and I have an idea that it's a game about exploring over anything else. But that's all I know. So from this position, having never played the 2008 mod, here's Wot I Think.
]]>Hauntingly beautiful, exploration-based first-person ghost story Dear Esther (a lavish remake of the mod of the same name) is up for the Excellence In Visual Art, Excellence In Audio, Nuovo Award and Seamus McNally Grand Prize at this year's Independent Games Festival. As part of our series chatting to the creators of (almost) all the PC and Mac-based finalists, today we talk to Robert Briscoe, lead artist on Dear Esther, about Stalker, Mirror's Edge, making in-game exploration satisfying, why indie development should be taught in universities and his answer to the most important question of all.
]]>The fancy-dan version of Source-based island adventure Dear Esther causes ripples of excitement whenever it raises its haunted head, nowhere more so in recent times than at the IGF where it has received four nominations. However, there are important matters to take care of before its Valentine's Day release. To that end, I have prepared several boxes so that we can put our heads together and decide which one Dear Esther belongs in. Perhaps a trailer will help us to choose?
]]>With Q.U.B.E. coming out on Friday and Dear Esther coming out in February, we thought it might be timely to talk to the sinister cabal of successful indies behind the Indie Fund. That's the name of the non-publisher group that are financing these games, as well as the exciting heist game, Monaco. What are they up to? And what is so special about the indie games they are financing? We found out, below.
]]>I've been reading some interesting discussions about Dear Esther of late, with some folks maintaining that it's "not even a game". With just wandering about and some artful narration going for it, you can see why some people are sceptical about it being in the same category as all those other things, with their hi-score tables and their comprehensible rule sets, that currently sit in the big box of games. Whether or not it's a game, you're going to be able to pay $10 on Valentine's Day next year, and wander lonesomely through its breath-takingly remade landscape. It really is quite an extraordinary thing to see, outdoing most mainstream games' environment work with its lavish Source-powered rocks and weeds. The Chinese Room also announce that: "In other news, we can also confirm we will be speaking at GDC2012′s Game Design track about Dear Esther, the approach to environmental build, audio, voice-overs and storytelling."
]]>Earlier in the year I lost my MP3 player with a bunch of untranscribed interviews on it. The most interesting of these recordings was an interview with Dan Pinchbeck, the games researcher who has turned to making games, starting with a remake of his Half-Life 2 mod, Dear Esther. The remake, which is being done with fabulous new art (above) in the Portal 2 engine, is apparently all but finished, and will appear in January or February next year. Hopefully, around that same time, I'll be able to redo my interview with Dan and see what he's learned from the process. Take a look through here for some more fantastic images of Pinchbeck's spooky narrated explore 'em up.
]]>Dan Pinchbeck of The Chinese Room has sent word that his spooky and emotive Half-Life 2 mod, Dear Esther, which is currently being rebuilt, again in the Source engine, will get a commercial release later this year. Pinchbeck's transmission tells us that "The re-make features a completely new environment that pushes the Source engine into uncharted territory; a re-orchestrated soundtrack by composer Jessica Curry, new areas to explore and an expanded story."
]]>[Friend of RPS and General Editor of Resolution Magazine, Lewis Denby, had a revelation about games through Half-life 2 mod Dear Esther. We thought it'd be an idea if he told you all about it.]
Gaming revelations arrive in the unlikeliest forms. Through the thick, sodden haze of British autumn, peeking out past the thrill of zombie infestations and post-apocalyptic wastelands, I discovered a tiny little gem that totally defied my expectations. I've sat on this for too long. I want to tell you about it. I need to tell you about it.
]]>
.png?width=1200&height=630&fit=crop&enable=upscale&auto=webp "שחרורו של Assassin's Creed Shadows נדחה למרץ כאשר מועצת המנהלים של Ubisoft שוקל מכירת חברה")