The homes are full of cozy chairs and floral wallpaper, surrounded by peaceful gardens, and just about everywhere you go you’ll see cups of tea waiting patiently on a table or counter. The quiet town of Yaughton, in the Shropshire countryside, feels like a postcard that you can explore in three dimensions. ![]() The concept was scrapped pretty early on - Pinchbeck likens it to a book that stops halfway through and tells you that you didn’t read fast enough - but not before the studio had become attached to the characters and location.Īnd that location is a distinctly British one. The idea was that you would replay that hour multiple times, exploring different characters and storylines each time. The initial prototype for Rapture had the same apocalyptic theme, but also gave players a time limit: at the beginning of the game you would have 60 minutes, after which point the world would end and so would the game. "We wanted to see where the next place to go with it was."īut the game could’ve ended up very different. ![]() It’s an example of environmental storytelling, something that’s unique to games, where the world creates much of the narrative itself. From this simple base you’re able to slowly piece together not only the events leading to the end of the world, but also the lives of the town’s inhabitants. ![]() Like the studio’s previous games, including Dear Esther, Rapture is an experience that plays with your expectations of what a game is: all you really do is walk around, looking for clues and listening to flashback sequences. Rapture takes place in a small English village in the 1980s, and at the outset you - whoever it is you play as - find yourself all alone, not long after the rest of the townsfolk have mysteriously vanished.
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