And now, a bit of Everybody’s Gone to the Rapture to get this blog off to a bit of a stumbling start. Wasn’t all that sure how to pick out screenshots from this game because, after Shadow of the Colossus, this is the one I’ve taken the most pictures in. It’s really beautiful but at the same time, quite unsettling because it’s essentially subverting the things that I’d normally find nostalgic and reassuring. My earliest memories are of the early 90s, when mid-to-late 80s decor was still fairly prevalent, so the style in the houses feels very familiar from my childhood and seeing that in conjunction with such an eerie and tense story kind of rustled my leaves a bit (less so as the story went on, there are some parts that are simultaneously really spooky but also very calming – that is a wonderful combination.)
Anyway. The most logical solution seemed to group the screenshots by the chapter they came from, so here are some screenshots from Jeremy’s narrative – his and Wendy’s stories came to most powerful (read: emotionally devastating) conclusions. And unlike Dear Esther, which I finished during the day, so I could go out for a walk afterwards to mull over it, I finished this at about 2am, so I was stuck in the house. With the emotions. I’m not a religious person but being someone who – y’know – is capable of empathy, this narrative about someone who is essentially charged with guiding and protecting people and failing to do so had a lot of clout to it (and that also is a credit to the voice actors, that it felt very realistic and lent a lot of strength to the plight of characters who you only see as scintillae and swoops of light.) Likewise, ecclesiastical aesthetics, I find quite striking and to cap it off, the design of this church gets the rural feel down to a T.
That was a lot of words, got a bit carried away there. This game gave me a lot of thoughts. (And I’ve just heard the words “personalised pasta” going on in the background, which is a very satisfying phrase.) Now for some pictures.