The player must have some control over story progression or else it ceases to be an interactive experience.
#GONE HOME ENDING MOVIE#
For a lot of players, this means the experience is no different from sitting back and watching a movie this is why it’s important that the plot be immersive. PlotĪlmost every game in existence has a plot, and the plot is the entire point of story exploration games.
#GONE HOME ENDING TV#
Rather than deciding whether or not story exploration games are ‘real games,’ it could be more interesting to figure out what differentiates story exploration games from movies or TV shows. This brings attention to a different question about these games. The Stanley Parable has not dealt with the same criticisms – perhaps because it didn’t reach the same level of popularity as Gone Home did, but also perhaps because of its features.
However, Gone Home has faced scrutiny from the more hardcore crowd who don’t think it’s a real game. More like interactive stories than action-packed RPGs, story exploration games like Gone Home and The Stanley Parable have captured the hearts of casual gamers across the world. Recently, story exploration has emerged as a fully fledged genre. Games such as Phoenix Wright and LA Noire where gameplay takes a backseat to story have existed for a while – games where there is no real punishment for losing and you only complete minor challenges to move forward in the story. The Father is out in the US now and is released in the UK on 12 March.Gone Home and The Stanley Parable: Story Exploration and Agency So Anthony plays Anthony, and – coincidentally, I presume – two actresses called Olivia play his daughter Anne. Presumably the name was changed to add to one of the dilemmas which the film grapples with: namely, what is personhood when unwillingly detached from a past? Oh yes and the names: The father in Le Père, the play on which this is based, was called Andre not Anthony, so there’s no nominative determinism at work in the casting here. So Olivia Williams plays another version of Anne, and Mark Gatiss plays another version of Anne’s (presumably ex-)husband Paul. Both his carers (Catherine, and Bill, played by Mark Gatiss) appear earlier in the film. The layout of rooms in the care home is identical to that of the mansion flats, where he may or may not have lived on his own and with Anne. In his current life, Anthony no longer has any context provided by his own short term memory so he’s been subconsciously filling in the gaps himself. It’s like two photos being superimposed on each other, though we often don’t know if we are in Anthony’s confused present or (mis)remembered past. We can see the trees through his bedroom window, framed by leaf-print curtains, leaves upon leaves, memory upon memory.Īdmittedly in this film chronology cannot be relied upon, but my assumption is that Anthony has been in the care home for much of the time, though his memories are impinging on real life, and vice versa. Catherine holds him and reminds him they can go for a walk in the park. The leaves are falling off the trees, he says, meaning his memories are disconnecting from his life. Imogen Poots as Laura the nurse, Olivia Colman as Anne and Anthony Hopkins as AnthonyĪnthony is asking for his mummy like a small boy. She comforts him as he breaks down, calling him “baby” (Anthony’s reactions to infantilising speech have varied throughout the film).
“What about me? Who exactly am I?” Anthony asks his nurse, Catherine (Olivia Williams). Anne has gone and comes back only occasionally to visit. Then it moves to a few weeks further on, still in his bedroom in the care home.
(She leaves through a courtyard, walking past a huge sculpture of a face with the top part of the head missing.) She is moving to Paris and will come back every few weeks to see him. The last of his autonomy is almost gone, along with his ordered memories. Tellingly, she is explaining to him that together they need to make the decision for him to stay there. This is a confusing film, though as for Anthony, when the only measure of happy ending can be acceptance, go with what makes you feel best!Īt the end of the film, we see Anthony (Anthony Hopkins) in a care home bedroom with Anne (Olivia Colman). Incidents loop on repeat yet often never have resolution. I’m not sure it’s meant to be explained rather that the sense of being adrift in a newly changing world be felt just as acutely by us the audience as by Anthony himself.Ĭhronology, time flowing at a regular rate, and accuracy of recollection are all up in the air.
The Father is about the fear and dislocation of ageing and dementia, and what identity means when memory has gone.
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