Dear Esther is certainly not for everyone, but those who cue to its curious flavors will find something quite memorable on this cloudy, windswept island. Featuring minimalistic gameplay, the players only objective in the game is to explore an unnamed island in the Hebrides, Scotland, listening to a troubled man. The macOS (OS X) version of this game does not work on macOS Catalina (version 10.15) or later due to the removal of support for 32-bit-only apps. In the end, it's perhaps not so much an interactive story as a multimedia rumination on the search for understanding and meaning in the seemingly random events of our lives. This, coupled with the shape of the tale itself (which at times seems intentionally vague, meandering, and difficult to understand), will be enough to send some players off the deep end as they fruitlessly attempt to work out what it all means.īut there also will be some who find beauty in the poetry of the language used, who marvel at the game's undeniable visual splendor, and who appreciate the subtle but atmospheric score that enhances the game's dark, lonely undertones. Nigel Carringtons voice really hits a home run. There are signs of life and the artifacts of someone who. Not only does it queue up right at the exact moment, the impact it leaves in its wake leaves you wanting more. There will be those who walk away believing it's not a game at all but instead a new form of media-based storytelling driven by players pressing directional keys on their keyboards. It removes nearly all agency from the player save looking and moving. Dear Esther challenges players' conception of what a video game can be.
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