I believe that they decide whether a title is a video game at all. Critics are generally divided here, as the general definition of “game” includes what has been described as “challenge” and “extensive interaction.” Productions of this type sometimes have these features, sometimes not. This time, however, it is presented using the latest graphics and sound solutions. Nevertheless, the production of The Chinese Room has an extremely important common feature with these genres, which is the absolute focus on the story being told. This does not mean, of course, that Everybody’s Gone to the Rapture is immediately a full-fledged representative of this genre. If we accept Japanese VNs, then unfortunately or unfortunately, but we also have to accept something that in more “independent gejming environments” (God forgive me for this phrase) can be described as “Western Visual Novel”. Sounds familiar? It should, because a very similar assumption was made by the Japanese developers of Visual Novel games.
Well, the creators are proud of it! It all revolves around the assumption that the gameplay distracts the player from the story being told. All these titles have one thing – they have as little gameplay as the meat content in the cheapest sausages. The Chinese Room studio is responsible for the developers Dear Esther (2012), from which they draw productions such as Gone Home (2013) and The Vanishing of Ethan Carter (2014). Namely, I do not think we are dealing with a video game yet. For now, however, I will apply a less humble statement. Seriously! The worst part is that the use of this phrase for Everybody’s Gone to the Rapture comes to the fore. Every time a reviewer writes in the text that “a given game is not for everyone”, a little kitten dies somewhere on Earth.
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