In 2017, Fullbright released another sort of narratively-driven exploration game called “Tacoma.” While the reaction wasn’t as powerful, it was still generally well-received. That game, which Gaynor still refers to a modest design, didn’t just lead to awards, it also led to hundreds of personal letters and emails sent to the team about how important the game was to them and what it meant to them. Then on launch day, the first review posted and it was a 10 out of 10, and it kept going from there. We started feeling this subconscious buzz from people we had sent review codes to who were excited about the game.
Then we got good feedback from friends and developers. “I knew if I played this game I would like it. “I think that all of us at the studio thought we made a game that we thought was good,” he said. That knowledge didn’t come until right before the reviews hit, he said. I didn’t realize how much we sent them down that path.” But the reaction to that was much stronger. There were a lot of fake-outs, the idea that we were making a horror game and then flipping the script and making it a love story. “I knew we were playing with the fact that players might think a murder or something had happened. You put things in the beginning, the middle, the end at different times, and you can never ever see the game in the order that a player sees it when it comes out. “ The thing that is strange to me about ‘Gone Home’ is that I knew we were making a game in a creepy old house on a dark and stormy night, but when you are making a game you see all of the pieces at once. Looking back now at the reaction to the game, much of which was centered around players’ sense of dread as they played, Gaynor said he is a bit surprised how powerful it was. Gaynor also pointed out that he and his team were inspired by some of the game that came before it, games like “Dear Esther,” “Amnesia: The Dark Descent,” and even “BioShock.” “You can’t separate the fact that we were really lucky to hit the zeitgeist of the moment with ‘Gone Home.’” “It’s really cool to be part of a discussion that is evolving like this,” he said. “When ‘Gone Home’ came out people looked at it and said, ‘What is this? This isn’t even a thing? This isn’t a way of relating to games that I’m used to.’” “There is always some kind of gatekeeping in any element of fandom,” he said. “There is a deep trust in the player to explore of their own volition and not to be told what to do,” he said at the time, “to understand how the whole game works.” Speaking with Variety last week, Gaynor said that he thinks that conversation about what makes a game a game has shifted a bit over the past five years.
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In 2014, Gaynor said that it is a game because it is a story told within an interactive environment which allows the players to decide how to tackle the unwinding of the game’s fiction and its interpretation. Because “Gone Home” is largely a game of exploration, some argued that perhaps it wasn’t really a game. It also sparked a surprising debate over just what a video game was. The game went on to win numerous awards including a BAFTA Award and Game Developers Choice Award. Together it created in some a creeping, building sense of dread.
Throughout the experience, of discovering her parents and sister missing, of piecing together odd facts and story found in photos, notes, and rooms, played neatly against the gamer’s expectation of some coming need for action or powerful unveiling.
The experience being played from a first-person perspective helped immerse players in the moment and brought with it a sense of unfulfilled tension. Some loved the experience of taking on Greenbriar as she explores her family home. The following interview contains some spoilers for “Gone Home.”įrom the day it was available it has spurred strong emotional reaction from everyone who played it. In 2016, the game hit the PlayStation 4 and Xbox One. “Gone Home” was initially released on Aug.
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