Indeed, ’07 and ’08 were kind to the genre, and it was largely those years that laid out the fate of big 10 publishers of the time, through their successes and failings.Įven ignoring the blockbusters that dominated the first person view in 2008 (Fallout 3, Farcry 2, Battlefield, Left 4 Dead, Battlefield Bad Company, etc, etc) it’s plain to see that that personal, engaging viewpoint had become synonymous with guns, gore, and violence. First Person Shooters dominated the sales charts, and led a technical revolution in their own genre games like Crysis had blue-screened tens-of-thousands of PCs (that rotting husk, the doomsayers said, whose awkward accessibility opposed to consoles surely meant that its end was nigh) welcoming in the widespread adoption of dual-core processors Call of Duty: Modern Warfare had thoroughly smashed Medal of Honor: Airbourne, and ascended to stand by Halo as an example of console’s multiplayer potential and accessibility and Bioshock had dragged us to unexpected waters, with a rich story (and memorable twist), and amazing visuals.
In early 2008 the games industry was a very different place. The ultimate goal, to create a game where the player was driven only by their own curiosity of the world, and their want to understand the story. Their aim was to replace all of those with a hidden story, a grounded world caught in time, and a confused narrator’s reading of levels, one left untrustworthy due to their confused realities and habit of dwelling on the poetic. In the beginning the designer had set out to create a first person shooter that shirked most of the genres conventions, mechanics, and gimmicks, determined to remove the kill-rooms, escape sequences, and ‘stand-offs’ all used to normally pace the genre and drag you forward.
Its life had begun as a Half Life 2 mod, an experiment really. Dear Esther Landmark Edition | The Chinese Room | Curve Digital | Xbox One (Reviewed), PS4.ĭear Esther’s reputation always precedes it.
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