So nothing like Overland. Except one key side of Road to Guangdong is the way you journey, in a rusty jalopy named Sandy, which you each drive and keep with gas and elements. “Sunny sees Sandy—her father’s old car—as her connection to her parents,” says Ooi, “to her childhood, and to visiting families. Sandy carries nostalgia and reassurance in a time of turmoil for Sunny, while being the unspeaking member of their family.” The final fragile remnant of the previous world in a horrible new actuality.
Equally essential to Road to Guangdong’s themes are the narrative selections you make, which ask you to contemplate what others need or count on. “Life, family and the way we experience and manage our relationships are not clearly distributed to right and wrong answers,” says Ooi. “The choices we present in the game are more aligned to ethical and moral considerations, taking into account the background of the characters and the story that is presented.” Like caring for Sandy, these selections are a technique of reconnecting with these round us.
This stress between alienation and human connection can also be at the coronary heart of gaming’s most enduring highway journey of current instances. Kentucky Route Zero, launched in 5 acts over seven years, is most hanging for its uncanny rendering of a crumbling fashionable America, and its disenfranchised residents. The sport’s creators, Jake Elliott, Tamas Kemenczy and Ben Babbitt of Cardboard Computer, see the 1980s movie True Stories as one inspiration, for its gradual tempo and photographs lingering on background particulars that spotlight the strangeness of the on a regular basis. “Those are important moments in a road trip,” they are saying, “stopping somewhere for a moment to check the map, and seeing something weird.”
But Kentucky Route Zero explores each this social disconnect and our need for firm and group, utilizing restricted types of interplay, not least when driving. “We were trying to give the player a sense of being lost on the road,” Elliott, Kemenczy, and Babbitt clarify in a group interview by e-mail. “You’re working with a map directly, which should make it easy to find things, but then you have to follow directions given by people you meet.” In the sport’s fourth act, you board a steam boat, and the builders clarify that this change, together with the sport’s dialog choices, spotlight one other essential side of a highway journey–being a passenger. “If nothing else, the driver needs someone to keep them awake,” they are saying. “That’s what dialog choices are for, whether you think of the player as driver or passenger.”
Kentucky Route Zero thus displays real social decline. “A lot of the social crises reflected in the game have been happening for a long time; call them patterns, strategies, or chronic symptoms,” say Elliott, Kemenczy, and Babbitt. But in the closing episode your band of misfit vacationers kinds a form of household of their very own, and finds a haven the place they could begin afresh. If actual “chronic symptoms” are the root of highway journey fiction, so is the hope of shifting past them.
It’s the identical even in the post-apocalyptic Overland. In some methods its world resembles a actuality wherein cities are already overgrown and deserted. “Places where I grew up are in internet ‘abandoned building porn’ slideshows,” says Saltsman. Yet even in a highway journey to oblivion, there’s the trace of latest beginnings. “I subscribe strongly to Ursula Le Guin’s idea that dystopias and utopias are intimately coupled,” he says. “That utopias for some are dystopias for others, and vice versa.”