On a side note: I can’t help but wonder how the game’s reception would have turned out if the music theme was deemed “uncool.” Would the game be as popular if the characters listened to Aaron Carter un-ironically? Would it feel as genuine or still be viewed as cool?Įven more important, though, is the queerness of the game. Gone Home – Katie inspects Sam’s Heavens to Betsey tape The riot grrrl motif adds some genuineness to the characters and their world, and even for players who did not experience the era (or have any interest in punk) find themselves identifying and impressed. The game earns major points for these details from fans and critics and even me, these details that give the game its otherworldly nostalgia. Its colloquial ‘90s language is spot on and is certainly “cool.” Bratmobile music and Sonic Youth posters and zines are all really cool and “in” and nostalgic and punk rock. What I experienced was a problematic game from the initial few moments, a nagging feeling that only intensified in the final moments of the game. I’m always cautious toward claims of great or “amazing” writing in contemporary media, but I was still excited to play the game finally. It instantly became an anti-Call of Duty (et al), and fans of the game will quickly cite it as an example of a game that is not targeted toward “white, young males.” The game was praised for its unique approach to storytelling, and for its themes and “beautiful” writing. ![]() ![]() ![]() Gone Home received a great deal of praise from critics and fans when it was released in 2013, becoming something of an indie hit. Players control Katie, a twenty-something invisible vehicle for the player, as she explores a vast, spooky mansion in Oregon after being away on vacation in Europe for a year. Gone Home is a slight, first-person adventure game, something of an “art game” with its focus on untraditional game narrative, from Portland developers The Fullbright Company.
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