Tag Archives: firewatch

‘Everyone feels lost all the time’

Uncharted director and writer Amy Hennig and Campo Santo (Firewatch) founder Sean Vanaman in conversation for Polygon’s excellent 2017 Year in Review essay series:

Amy Hennig: I talk to students and young developers sometimes, and they’re always sort of amazed to find out that everybody has imposter syndrome.

Sean Vanaman: I still feel like I’m ripping everyone off.

Amy Hennig: You look back at your own work and go, “I’m not even sure how I did that.”

Sean Vanaman: Exactly.

Amy Hennig: So even though you have this underlying sense of faith and tell yourself, “Well, I’ve been here lots of times, and I’ve always figured out a way to solve these problems, so I’ve got to relax and assume that I will figure it out again,” in the moment you’re like, “I don’t know how I did that before. I don’t know what I’m doing.” And everybody feels that way. It’s something I haven’t heard creative people talk about that much until recently. I always hear this sigh of relief when I bring it up. Everyone feels lost all the time.

This is a wonderful conversation between polar perspectives. Whether you’re running a large ship or a tiny dinghy, self-doubt is inevitable. I’ll add that it’s not just the captains that encounter it.

The quicker everyone and lay bare their uncertainties, the quicker the entire crew can sail in the same direction.

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Polygon’s 2016 Games of the Year

I’m proud to say that I played three of the 10 games chosen as Polygon’s 2016 Games of the Year, my reviews of which you can find below:

I also played Uncharted 4, which I thought to have a profoundly moving story and absolutely stunning visuals. My review, which somehow finds room to discuss Mega Man 7 and 2016’s atrocious Warcraft film, can be found here.

Also of note, Pokemon Go took the world by storm, something unprecedented in video games since the Wii. It may have seemed ambitious to deem it Game of the Year in July, but I’ll argue that due to its cultural impact, I wasn’t wrong.

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Firewatch: A Review

Unknown

It goes without saying Firewatch is an aesthetic marvel. Just look look at the gameplay screenshot above. Better yet, head to firewatchgame.com and get your fill. But it’s what lies within the exterior beauty that Firewatch shines.

Without taking the Up-like blow out of the first act, the game finds protagonist Henry having taken a job as a fire lookout in Shoshone National Forest, Wyoming. Henry communicates with Delilah, a veteran lookout in another watchtower, via radio through choice-driven narrative queues (à la The Walking Dead, Choose Your Own Adventure). Shortly after the opening, the two find themselves tangled up in a self-provoked mystery.

Throughout my play-through, I became so concerned for Henry’s safety that my own certainty about the wilderness and its role as a haven for the unknown and unexplainable began to fulfill itself. However, it’s at the mercy of a few cheap tricks that this unsettlement is allowed to creep in. One early trick creates the suspicion that something bigger is going on and you’re the only one not in on the secret. Another instills the fear of looking down or turning a corner; two actions that become impossible to avoid and occur at breakneck frequency throughout the entirety of the game. Campo Santo makes it impossible not to feel anxious.

The answer to the game’s mystery will be unsatisfying, but only because this is the wrong puzzle. I’d argue the real answer is to why the game’s mystery is unsatisfying. Therein lies the revelation. Ultimately, Firewatch shows that one’s own ego and neurosis can overshadow important details; that our narcissism and persistence to seek the puppet-masters blur what is right in front of us. Without doubt, an interesting mystery unfolds for Henry and Delilah; but it’s an exposé in egoism that lies at the heart of Firewatch.

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