![]() The pair are able to have a verbal affair if Henry responds to Delilah’s flirtation throughout the game especially during ‘The Big Fire’ scene when he can reply ‘me too’ to Delilah’s wish to be with him. Similarly, the nature of Henry’s relationship with Delilah will change significantly based on the dialogue the player selects. If they are more hostile this is reflected in later dialogue with Delilah where Henry tells her ‘I did probably piss off the girls at the lake’. This scene allows the player to craft an awkward, responsible or cruel Henry in relation to the path they take. ![]() Alternatively, the player can simply pick up the girl’s radio to get their attention which they will react naturally to telling him to ‘put it down’, thanking him if he does so or cursing at him if he throws it in the lake. Depending on this choice the girls will either mock Henry, call him a ‘creep’ or seem genuinely unsettled by him. The game affords multiple ways of dealing with this situation as Henry can politely ask them to stop using fireworks, take a more aggressive tone or outright threaten them. A more pronounced example of cause and effect is found in Henry’s encounter with the teenage girls during his first day on the job. While the options in the prologue do not result in any major in-game shifts they colour our perception of Henry and his love for Julia. McAllister argues that ‘game worlds that players enter are worlds where causes and effects are made to seem almost entirely subject to player control’ (2004, p. ![]() For example after the discovery of Julia’s early onset Alzheimer’s the player can either decide to discuss getting help or cook her dinner. Throughout this section the player’s choices outline Henry’s romance with his wife Julia. The player’s control of Henry is immediately evident in the text based prologue which states ‘You, Henry’ suggesting a connection between our actions and his. Finally, any perception of absolute control over these characters is subverted by their defined flaws that force the player to make uncomfortable decisions and accept a state of failure where they have no autonomy.Ĭampo Santo and Infinite Fall’s games afford differing approaches to their protagonists and the relationships they form via the mechanic of dialogue selection. Despite these affordances, both games arguably encourage the player to follow specific paths in the narrative through the process of interpellation. These choices alter the tone of the games by determining Henry’s relationship with his supervisor Delilah and which childhood friend Mae spends time with. The player has agency to shape these characters through dialogue options which allow specific characteristics to be emphasised. The protagonist of Night in The Woods is Mae, a 20 year old anthropomorphic cat who leaves college and returns to her hometown of Possum Springs. Campo Santo’s game is set in 1989 and follows a middle aged man named Henry who takes a job as a fire lookout after his wife falls ill. I hope you enjoy it □ I’ve written separate posts on Night in the Woods and Firewatch if you’d like to read those.įirewatch (2016) and Night in The Woods (2017) are independently developed adventure games created by Campo Santo and Infinite Fall and released on PC, PlayStation 4, Xbox One and Nintendo Switch. ![]() As with my last post, this is a university essay that I wrote this term.
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