Dejobaan Games and Popcannibal's ELEGY FOR A DEAD WORLD

Ian Faith

If you’ve been paying attention to video games at all over the last decade, you know that writing has become an integral part of the medium. Nearly every game from independent to big budget “triple A” studios, features some type of narrative, if only to justify its own mechanics. Although subject to skepticism by gamer culture, games within the so-called walking simulators genre like Gone Home and Firewatch, as well as Telltale Games’s point-and-click adaptations of The Walking Dead and Game of Thrones, are distinctly literary projects. Whether one conceives of the player as an actor within the drama articulating their desires through movement and dialogue, as a director deciding the outcomes of the plot, as an audience member experiencing the narrative, or all of the above, the literary influences on game development are obvious. 


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