Eurogamer:
One day in early 2014 Sam Barlow placed a scrap of paper on the kitchen table at his home on the South Coast of England. A few weeks earlier he had left a lucrative job as game director at Climax Studios. The games that he had made during his decade spent at the studio had won awards and yet, no amount of accolades had managed to shrug the nagging frustration that Barlow felt about storytelling in the medium. Where were the stories about domestic-scale drama? Where were the stories about characters who aren't 'aspirational' in some fantastical way, or stories about supposedly less marketable genders and races? Where, for that matter, was that most valuable tool in any fiction writer's pocket: subtext?
"It was so offensive to me"
Cliff Bleszinski shares thoughts on Gears of War’s PlayStation debut, E-Day, and Microsoft’s Game Pass strategy.
The narrative deduction title is available on Steam, Nintendo Switch, and the App Store for just $7.
This game was nothing more than a walking simulator. It's not impressive in the slightest. People are only giving a damn because the protagonist is a lesbian but that shouldn't matter, the protagonist can be a god damn potato for all I care I just want a fun game with a compelling story.