Via Laura Gibbs. I’ve only played Portal and Journey out of those listed, so I have some treats ahead of me, it seems. <\/p>\n\n\n\n
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Originally shared by Arthur Gillard<\/strong><\/p>\n\n\n\n <\/p>\n\n\n\n Very interesting article. “Your experimental technological literature is already here; it\u2019s the noise you\u2019re trying to get your children to turn down while you pen your thoughts about the future of location-based storytelling.”<\/p>\n\n\n\n <\/p>\n\n\n\n “To pick just 10 examples from recent years, it\u2019s hard to imagine how you could opine on the future of literature without having played the brilliantly characterful and fourth-wall breaking Portal, the sombre and engrossing Papers, Please, or the dazzlingly surreal exploration of the American subconscious, Kentucky Route Zero. Are you interested in discussing experimental \u201cread it in any order\u201d literature? Then for goodness\u2019 sake, play the mystery narratives of Her Story and Gone Home and the hilarious and unsettling The Stanley Parable. If you want to talk about how writers can engage with politics, capitalism, or the environmental movement, you\u2019ll be showing your ignorance if you haven\u2019t played Oiligarchy.<\/p>\n\n\n\n <\/p>\n\n\n\n “Interested in how storytellers can engage with themes of mortality? You\u2019ll want Spider: The Secret of Bryce Manor, or Jason Rohrer\u2019s short, powerful game Passage, or the sublime Journey. Each of these games could \u2013 and probably should \u2013 be taught in schools to inspire the next generation of creators.”<\/p>\n\n\n\n <\/p>\n\n\n\n