There are marriages in trouble, and problems with the church. I found myself completely absorbed by the story I kept a pen nearby to keep track of people’s names and their relationships, and as I explored I not only learned about where all these people went (at least, I’m pretty sure I’ve figured it out) but I also got an incredibly intimate look into their lives. What makes Rapture work is just how powerful that mystery is. These games are often disparagingly referred to as "walking simulators," but it’s a designation that misses the point it’s not the walking that’s fun, it’s finding yourself in the middle of a mystery, watching it unfold all around you. If you’ve played games like Gone Home or Dear Esther (which, like Rapture, was developed by English studio The Chinese Room), you’ll know what to expect. You use the left stick to move, the right to control the camera, and the X button lets you interact with a small number of objects you can open a few doors and listen to phone messages, but for the most part you are just an observer. You never actually see them, but you can’t escape them, and it took about five minutes before I realized I absolutely had to know what happened. There are still signs of life - an ashtray that’s still smoking, an abandoned car with its turn signal on - and you’ll regularly come across audio recordings and ghostly flashback sequences, where you can get a glimpse into the lives of the people who have disappeared. But as you start exploring, poking around the town pub and the homes with unlocked doors, it becomes clear that everyone in the town has vanished. There isn’t much to guide you other than curiosity. You’re on a quiet street, in what you’ll soon discover is a small, charmingly quaint English village in the mid-1980s. You never see people, but you can’t escape themĪt the outset of the game you have no information you don’t know who you are or where you are, and you certainly don’t know why you’re there.
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