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Regardless, I enjoyed playing this game since it was a very different and intriguing gameplay experience. While the narrative that the narrator was describing never made complete sense to me, I started noticing things that the narrator was describing such as white lines on walls and hints of a car crash through scattered car parts. Additionally, the landscape acts as a physical boundary for the player to contain their exploration within. Rather than placing checkpoints that the characters try and reach, the game guides you to these locations through landscape design itself. Here, the game designers are subtly exercising the element of systematic progression. Even though I tried taking paths that I felt most players wouldn’t take, I ended up reaching the same places as other players did. They did this by crafting narrow paths that could only lead to a single direction and by adding blockades to create dead-ends that the player can’t get past. The game makers also use landscape as a mechanism to guide the player’s movements so that they eventually get to destinations that the game makers have pre-planned for them. My path did indeed lead me to the source of this light as well. In the first cave that I entered in the game, I was able to see a flashing light in the distance that I felt like someone signaling me using morse code. The game makers used beacon-type lights on multiple occasions to guide players in a very subtle manner. This is exactly what the game makers were expecting me to do since that’s where my path eventually leads me. Subconsciously, I picked that light as my destination. When I was younger, I’d heard the saying “If you are ever lost, just find the North Start and it will lead you home.” As I over the monotonous landscape which consisted of dirt, plants, rocks, and the ocean, I couldn’t help but notice a flickering red beacon in the distance. Picking a goal or general direction to move towards was another challenge, but that was soon resolved by what seemed to be intentional decisions made by the game makers. This lead to an internal conflict of dilemma, where I had to choose between these two paths, with no knowledge about where they might lead. But as I progressed through the landscape, I was constantly faced with diverging paths. Initially, I believed the game lacked any conflict. I soon started debating with myself whether I would actually describe “Dear Esther” as a game or simply a roaming experience.Ībout an hour into the gameplay, it became clear that while “Dear Esther” differs from most games that people traditionally play, it is indeed a game, from a formal perspective. However, the calming sound of the waves and the beauty of the natural territory urged me to continue my exploration. The only feedback mechanism that I received early on was the irregular narrative pieces from an omnipotent narrator that lacked any context and didn’t seem to provide any clues about the outcome I should expect by playing this game. The outcome of the game was even less clear as I kept wondering what the point of the game truly was. Exploration seemed to be the only logical fit for a game that lacks any physical actions apart from walking. With “Dear Esther”, it took me a much longer time to discover what the true objective was. In almost all games I’ve played so far, the objective is either clear from the very start, or it gets clear shortly after gameplay commences. Unlike an FPS game though, there weren’t any controls or actions I could do apart from walking, not even running. I was, however, able to pick up the movement controls very easily as they exactly resembled a typical FPS game. The visuals are almost un-game like, even for today’s standards.As I started “Dear Esther”, I was immediately plunged into the gameplay with basically no instructions or guidelines.
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Just look at how wonderfully detailed the surroundings are. At this point it becomes clear that the only interaction in Dear Esther is the ability to walk around. You’re washed ashore on an island, where you start off by investigating an abandoned shack. The result is an extremely detailed and immersive world. In 2008, a modification of the popular first person shooter Half Life 2 was released named “Dear Esther.” One year later, game developer Robert Briscoe decided to re-develop the game. For his first review, Sander tackled the critically acclaimed first-person game Dear Esther. Dutch independent game designer and game journalist Sander van der Vegte, co-creator of FLX., reviews the most exciting, most original, most innovative (indie) games for Submarine Channel.