Games Are Reimagining the Journey to a Modern Era


So nothing like that Overland. It was a key aspect of Road to Guangdong it’s how it goes, in a rusty jalopy called Sandy, that they both drive and maintain with fuel and parts. “Sunny sees Sandy – her father’s old car – as her bond with her parents,” says Ooi, “with her childhood, and with visiting families. Sandy brings nostalgia and reassurance in a moment of relief.” turmoil for Sunny, while he is the member without talking about his family. ” The last fragile remnant of the old world in a terrible new reality.

Equally important for Road to Guangdong themes are the narrative choices you make, which ask you to consider what others want or expect. “Life, family and the way we experience and manage our relationships are not clearly distributed to the right and wrong answers,” says Ooi. “The choices we present in the game are more in line with ethical and moral considerations, taking into account the background of the characters and the story that is presented.” Like Sandy’s care, these choices are a means of reconnecting with those around us.

This tension between alienation and human connection is also at the heart of the game’s toughest road trip of recent times. Kentucky Route Zero, published in five acts over the past seven years, is most striking for its strange rendition of a shattered modern America, and its privileged citizens. The game’s creators, Jake Elliott, Tamas Kemenczy and Ben Babbitt of Cardboard Computer, saw the 80’s movie True Stories as a single inspiration, for its slow rhythm and its persistent strokes on the background details that highlight the strangeness of everyday life. “These are important moments on a road trip,” they say, “stopping somewhere for a moment to check the map, and see something strange.”


Ma Kentucky Route Zero explore both this social disconnect and our desire for company and community, using limited forms of interaction, especially when guided. “We tried to give the player a sense of being lost on the road,” Elliott, Kemenczy and Babbitt explained in a group email interview. “You work with a card directly, which should make it easier to find things, but you have to follow the directions given by the people you meet.” In the fourth act of the game, you embark on a steamboat, and the developers explain that this change, along with the game’s dialogue options, highlights another crucial aspect of a road trip – being a passenger. “If nothing else, the driver needs someone to keep them awake,” they say. “That’s why the dialogue choices are, whether you think of the player as a driver or a passenger.”

Kentucky Route Zero thus reflecting a real social decline. “A lot of the social crises reflected in the game have been going on for a long time; call them chronic patterns, strategies, or symptoms, “say Elliott, Kemenczy, and Babbitt. But in the last episode your band of maladapted travelers forms a sort of family of their own, and finds a paradise where they can start again. If the real” chronic symptoms. ” they are the root of the fiction of road travel, so it is the hope of going beyond them.

It is the same even in the post-apocalyptic Overland. In a way their world resembles a reality where cities are already invaded and abandoned. “The places where I grew up are in abandoned building porn presentations,” says Saltsman. Yet, even on a road trip to oblivion, there is the suggestion of new beginnings. “I strongly support Ursula’s idea. Le Guin that dystopias and utopias are intimately coupled, “he says.” What utopias for some are dystopias for others, and vice versa. “

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