a portfolio of videogame writings
The Fullbright Company’s Gone Home whipped up something of a storm last month, both because of the story it told and how it told that story. Set in a vacant family home, the game relies entirely upon environmental storytelling to spin multiple tales about ordinary people with relationship issues – a topic notable simply because it’s scarcely touched upon within the medium.
Whatever your thoughts on Gone Home are (mine are here), it’s unarguable that Fullbright’s interactive story has sparked some vibrant and impassioned conversion of late, which is always a good thing.
I caught up with Steve Gaynor, one of the founding members of Fullbright, to gain an insight into some of the design decisions that came to define Gone Home, and to see how he feels now that the dust has settled.
What has the past week been like for you and everyone else at Fullbright? You released Gone Home to critical acclaim and lots of people have written stories about how they related to the characters and their stories in the game. How does that make you feel as one of the people that created it?
It’s… a very unique sensation. You know, I’ve shipped games before, but it’s always been part of a big studio, or it’s always been a sequel or an expansion pack for a game that already existed. So it’s a very different kind of feeling to know that Karla and Johnnemann and Kate and I made something on our own that would never have existed otherwise, and to have people reacting strongly to that.
So, like, the reviews from gaming sites and from other outlets like the New York Times have been really awesome to see. But I think the thing that has affected us the most has been those personal accounts that people have written in blog posts or emailed to us just saying what their personal connection to the game was. That’s been really cool and not something that we could have predicted.