Dear esther who is esther

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After the initial release of the free mod in , Dear Esther was very successful and was one of the most-downloaded mods of the time. In , Pinchbeck was contacted by Robert Briscoe who was interested in remaking the very simple environments of the game.

Briscoe, seeing a lot of potential in the game, had felt a disconnection between the audio and visual experiences because the visual detail was inconsistent with the narrative detail [ 9, min ].

A commercial remake of the game for PC with environments by Briscoe and a new soundtrack by Jessica Curry was released in The same can be said about the island the game takes place on. Furthermore, each time a player triggers a voice-over segment, one out of four possibilities is randomly chosen and presented to the player. These voice-over lines may contain different information or even contradict one another [ 4 ]. Hence, the gap that opened by taking out most traditional game mechanics is filled with time for the players to reflect on the experience they are presented with.

Pinchbeck argues that many games bombard the player with constant stimulation and action and then fail because they cannot keep up with this. He mentions the Tibetan village scenes from Uncharted 2 and the return to the Ishimura from Dead Space 2 as positive examples from other games where the players are given a few minutes of breathing space between action scenes to reflect on their situations and fill the gaps using their imagination [7, Chapter 2].

This allows for a deeper engagement and immersion, as well as stronger and different emotions evoked in the player:. Designing this ambiguity was no simple task.

In [ 5 ], Pinchbeck mentions the functionalist approach to narrative introduced by Roland Barthes [ 8 ]. In Dear Esther , the player is presented mostly with narrative indices, while most functions are left to his imagination.

As an example, the game only states about seven facts about the character Paul; however, there have been page-long discussions about him on the forums.

Players have spent hours thinking and interpreting these seven facts. Isolated facts and ideas like these are deliberately planted throughout the narrative. Pinchbeck talks about these as symbolic assets [ 6, min ]. For example, the narrator talks about gulls and flight throughout the game, creating a symbol for the developers to play with and manipulate. This symbolic asset can be used in the narrative, but also in environmental storytelling.

In the case of the gull and flight symbols, this is taken to the extreme at the end of the game where the player seemingly turns into a gull and flies over the beach. The ambiguity of the narrative is underlined and represented in the environment, where some physical objects are randomized as well. Another example of this symbolism is a short gully in the environment just before the end of Chapter 2, where the player can find hundreds of books that have been dumped here.

Rather than telling the players how they are supposed to feel, Dear Esther physically places them within that emotional state and represents it around them.

Briscoe notes that the Hebridean environment feels very hostile, which is supported by the harsh weather.