The lush golden haze of Yaughton is quiet, but far from peaceful. Fictional places are weird things, they make space where formerly there was none, but they can feel like they’ve always existed. The never-was is hard to erase.
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‘Play’, as generated by games, is an exploration of limits. Because of the assumption of space in the medium, a huge proportion of games involve journeys. For a lot this is a trip from point A to point B (and if you’re unlucky, a backpeddle to point A with object p). On the face of it this seems natural considering the media to which video games still look. Books, TV and film are (to crazy-generalise) traditionally sequential media with linear narratives. Not only are they littered with thematic journeys and notions of progressive character development, but they assume a uni-directional experience of both figured time and literal consumption line by line or frame by frame. But what happens to structures and tropes like these when they’re made literal? What happens in a game where you interactively walk/fly/drive to a finish line?
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