One of last year’s remarkable critical success stories, Actual Sunlight, is being currently remade into 3D by developer Will O’Neill. The game is testing waters on Steam Greenlight, and a demonstrative beta build of the new 3D version can be downloaded on the developer’s website.
The game is a “short interactive story about love, depression and the corporation”:
The game puts you in the role of Evan Winter, a young professional in Toronto, as he moves through three distinct periods of his life. The story is linear, unavoidable and (hopefully) thought-provoking. You experience his perceptions, fall under the consequences of his decisions, and meet everyone who didn’t change him.1
Inspired by the game’s resurgence in 3D, I would very much like to go back in time (it’s not like we get second chances very often!), to point out just one interesting feature in the original game – a feature that’s completely transparent, and ordinary, and yet crucially shaped my experience with the game.
The game engenders feelings, responses, and thoughts on so many different levels that there already exists a wealth of criticism (see, for instance, Chris Priestman’s and John Walker’s). So. I shall try to be to the point.