I have to agree. I thought that structure was very effective, for me at least.
-
Hey, guest user. Hope you're enjoying NeoGAF! Have you considered registering for an account? Come join us and add your take to the daily discourse.
Firewatch | Spoiler Discussion
- Thread starter More_Badass
- Start date
I have to agree. I thought that structure was very effective, for me at least.
mercenar1e
Member
its still going to be on my list lol
Quote
Member
Well then don't expect me to vote your list for Best List of Disappointments 2016™
Nightshade
Member
Not gonna lie. The last line got me good
"You know Delilah? We really are the Firewatchers."
"You know Delilah? We really are the Firewatchers."
I wandered about and hit the fence from the east near the burned patch on the same day as investigating the downed lines . She mostly just brushes it off as that's weird. I'm not sure if it comes up on the same day or later but she says she found some paper explaining that they were doing an academic study there, which I believe happened before I got knocked out and went to look at the fence again (this time from the side closer to the lake.)
JetBlackPanda
Member
The more you think about this game the more it falls apart. I really enjoyed it, but man.. That scooby doo villian and single cassette tape exposition dump at the end.
If the writers could have played everything off as paranoia it would have really been great. Setting up the fence and lab and trackers was just too much.
If the writers could have played everything off as paranoia it would have really been great. Setting up the fence and lab and trackers was just too much.
BrightLightLava
Unconfirmed Member
Seconded. And my boy Bucket, too.
chrominance
Member
I knew you could put things back down carefully, but the trigger area for doing so is pretty small so I'm not surprised you never figured this out. I remember on one of the earlier days, Delilah was all "I can see you in your tower, just holler at me when you're ready for your next job" and I was just puttering around reading my typewritten notes and stuff. Then I picked up my mug and proceeded to drop it on the desk and ground multiple times before actually putting it on the desk properly, and then doing the same thing with the picture of Julia and I.
If Delilah had commented on me being a giant klutz when I finally did radio in, I would've lost my shit.
Butterfly Witch
Member
Late responses but bear with me here.
We don't particularly know if he was or not listening from day 1. Henry finds a partial log and assumes so. Now if we go by real world radio technology he could have been listening the whole time for sure, even after Delilah gave Henry a new radio (hint: radio broadcasting is not encrypted, anyone can listen to anything).
Ned did indeed leave the key to be found by Henry but with a good reason: he wanted to trap Henry there. It wasn't until after he met Henry that he figured that Henry didn't have a key of his own (conversation between Delilah and Henry). He had no way of knowing that Henry would dig his way out, for all he planned was that Henry would be suck in there and die like his kid.
Why he wouldn't bury his kid is pretty obvious. A burial is final, it puts an end to someone's life. You live, you die, you get buried. This guy had no one else and he was still mourning his recent loss. Now his kid is dead out of nowhere and he doesn't want to let go of him. Grief makes people do "weird" things like that. Also remember that Ned did not know of his kid's fort, remember the note and the missing anchors? If Ned had ran into that place he would have taken all that stuff back to his hideout, much like he did with the rest of the kid's belongings.
The game starts off pretty mundane, but it's now becoming more like a psychological thriller (similar to Upstream Colour, which I had just watched recently). Also, I keep forgetting that this game takes place in the late 1980's/early 1990's, so whenever I think the fire lookout's could contact someone, either through texting or through email, I also remember that mobile phone and notebook technology wasn't exactly a thing (at least that we now know of) during that time period.
Langdon Alger
Banned
Who built that fence and brought in that surveillance equipment and why? Who was Delilah talking to when she said that you were a chump who was easy to manipulate and why? And how were you able to hear Delilah when she said that?
Just some random researchers, and it was another firewatch person she was talking to
Red herrings everywhere
Haunted
Member
Hot damn.
Langdon Alger
Banned
OK, the random researchers stuff makes sense. There was a note about a professor doing some sort of research there, now that I think about it. But when I heard Delilah talking trash about me with that other Firewatch, I immediately distrusted and disliked her from that moment on, and so all of the romance stuff they put into the dialogue later on didn't make any sense to me. How am I supposed to like her after hearing her shit-talk me like that?
Succinct and I love it.
Nappuccino
Member
Yeah. This gets it, perfectly.
JetBlackPanda
Member
I agree in theory. However I can't get over the fact that there is a literal boogeyman in the game that goes out of his way to scare and torment you.
Takes it from a 10/10 to an 8/10 for me.
I sound like I hate the game but I really don't. I really love it.
I also loved it. The beginning got me good. My wife is a scientist too, a better one than me, so naturally we discussed moving for her job etc. And then suddenly Julia gets dementia. To think that could happen to us in a few years hit a bit too close to home, ha.
I agree with others that it misses a few story beats. Primarily we don't even know Brian was missing before we see the corpse so it was like, okay, and then the ending explanation of the stalker felt almost like a deus ex machina. Here's some exposition to tell you what was really happening; poor storytelling imo.
But the game itself, as a meditation on through sickness and in health, hit a lot of right notes. Feels like one of the few games that speaks to my generation of older geezers.
It won't be high in my GOTY list, but it's definitely a game I'm happy to have played.
Also Delilahs voice actress should get every award in acting categories.
I agree with others that it misses a few story beats. Primarily we don't even know Brian was missing before we see the corpse so it was like, okay, and then the ending explanation of the stalker felt almost like a deus ex machina. Here's some exposition to tell you what was really happening; poor storytelling imo.
But the game itself, as a meditation on through sickness and in health, hit a lot of right notes. Feels like one of the few games that speaks to my generation of older geezers.
It won't be high in my GOTY list, but it's definitely a game I'm happy to have played.
Also Delilahs voice actress should get every award in acting categories.
UcchedavÄda
Member
When does she "shit-talk" you? From what I recall, during the segment where you are heading for the cut wire, the most she says is that "I don't think he knows", which I took as referencing to who did the vandalism, and which is true at that point. It seemed completely innocuous to me.
uomoartificiale
Member
I feel the same as you.
It's the first time I felt that a game was too short, not because x hours of gameplay equals quality, but because that particular narrative thread needed time to be properly resolved. Even if the narrative arc was to remain exactly the same, more time and more interaction with D would have provided meaning and closure to the plot (still including the original themes of life sucking hard).
thetrin
Hail, peons, for I have come as ambassador from the great and bountiful Blueberry Butt Explosion
It certainly worked for me.
Why not? The prologue made me feel like I had spent years and experienced an entire relationship with Julia. "The game itself" on the other hand for me didn't quite manage to do the same for Delilah and only a period of 2.5 months. So, yeah, to me it was very effective.
Something else came to mind though and maybe that's something Jake can talk about -- I wonder if there ever was the consideration that the game might do too much telling and too little showing.
One of the moments I remember the most from The Walking Dead was when I was given three portions of food in episode 2 or so, I could walk around and decide who would get something to eat, thus showing who Lee was by actually doing something. In Firewatch, there is that single moment with the stereo but other than that it's tell, tell, tell, which is usually a no-no when it comes to storytelling.
It obviously makes sense on some level or another (the isolation, the characters' background) but, still, I kind of feel like I would have identified more with Henry if I actually had have the chance to control his actions a little more instead of just, more or less, following Delilah's orders.
Langdon Alger
Banned
Ucchedavāda;195315761 said:
Maybe I was just being paranoid, and what she said wasn't really trash talk. But, to be fair, the game wants me to be paranoid and to not know what's going on. Because of that, I was always on my guard, and never felt anything for Delilia.
Hm, well this was a game I've been anticipating since PAX 2(?) years ago when I first heard about it. I love beautiful design-y things and games with a heavy narrative focus, so it sounded perfect for me. I played through Firewatch on PS4 a few days ago and have kind of been letting my thoughts percolate for a bit.
First, what I thought it got really right:
1. Visuals. Gorgeous as expected, and I love the inclusion of the camera so you can take advantage of the views. I loved the color palettes and the graphic design on the in-game objects too, and Turt Reynolds is adorable.
2. Dialog between Henry and Delilah, both the writing and the voice acting.
3. A feeling of looming danger. Part of that was Henry's isolation in a world where, for the most part, all you see of other people is an incomplete glimpse (a silhouette, a voice, a body, a picture). Part of it was how small and fragile the watchtower seems in the wilderness, the illusion that it's secure being shattered early on by the vandalism incident. At times I felt similar to how I felt watching the movie Gravity, where I thought about space and its physics as something beautiful, and huge, and terrifyingly indifferent to humans and their concerns. There were moments where I felt that way towards the wilderness in Firewatch, and that was great.
4. The intro. I don't mind reading lots of text, and the fact that it IS just text in the second person voice actually made it the easiest part of the game to for me to connect to emotionally, since who "you" are is much less defined than in the rest of the game.
5. The soundtrack
Now the parts that I thought could have been better:
1. PS4 performance issues were annoying
2. I would have liked more control over how Henry felt about Delilah and Julia during the time when I was playing him. Basically, I decided partway through the game that I thought Henry was inadvertently verging on an emotional affair with Delilah but that his guilt and feelings of obligation toward Julia would prevent him from actually doing anything to advance his relationship with Delilah from friendly to romantic. After I'd decided this, I kept feeling like the game really wanted Henry to fall in love with Delilah and was pushing me in that direction, and it was jarring. I guess I usually expect to be able to decide the character's feelings (within reason) when I'm given the ability to choose dialog options in games, at least during the time when I'm controlling them.
3. I'm not a huge fan of timers on conversation choices, and I was trying to take a picture of the sunset during that conversation about the missing girls, and while I was fumbling with the camera, both the convo options timed out and I made Henry look like a total teen girl murderer. Sorry, Henry.
4. I didn't connect emotionally to the story aside from the moments I mentioned above. A lot of the time I could recognize intellectually what the game was going for, but I didn't feel the things it was trying to evoke. I wonder if part of this is due to me not having a ton in common with Henry to empathize with. I expect the story would have much more of an impact if the player is any of these: male, married, around Henry's age, attracted to women, a parent (or wants to be a parent). I realize this is a particular story being told here and I respect that, so I don't even know if this is a legitimate criticism or just an issue with me, but I expected to feel something when, for example, the music swelled and I found Brian's body, and I just didn't. I'm also curious how my perception of Delilah might've been different if I wasn't a straight woman.
5. Speaking of Brian, by the time I found him I'd been thinking he was probably dead for hours. Maybe it was the way the backpack was placed, but I thought he'd fallen off that cliff and died there, until I saw the shoe and eventually the body in the cave.
And finally, the ending. When I finished the game I felt the ending was anticlimactic, but now with a little distance I'm finding myself still thinking that but appreciating that quality, which I'm pretty sure was intentional given the isolation aspect of the game. In retrospect, I think not including an actual grand conspiracy or supernatural stuff was the right move.
I guess I had a lot of thoughts about this game! I'm hoping to see more from Campo Santo in the future.
First, what I thought it got really right:
1. Visuals. Gorgeous as expected, and I love the inclusion of the camera so you can take advantage of the views. I loved the color palettes and the graphic design on the in-game objects too, and Turt Reynolds is adorable.
2. Dialog between Henry and Delilah, both the writing and the voice acting.
3. A feeling of looming danger. Part of that was Henry's isolation in a world where, for the most part, all you see of other people is an incomplete glimpse (a silhouette, a voice, a body, a picture). Part of it was how small and fragile the watchtower seems in the wilderness, the illusion that it's secure being shattered early on by the vandalism incident. At times I felt similar to how I felt watching the movie Gravity, where I thought about space and its physics as something beautiful, and huge, and terrifyingly indifferent to humans and their concerns. There were moments where I felt that way towards the wilderness in Firewatch, and that was great.
4. The intro. I don't mind reading lots of text, and the fact that it IS just text in the second person voice actually made it the easiest part of the game to for me to connect to emotionally, since who "you" are is much less defined than in the rest of the game.
5. The soundtrack
Now the parts that I thought could have been better:
1. PS4 performance issues were annoying
2. I would have liked more control over how Henry felt about Delilah and Julia during the time when I was playing him. Basically, I decided partway through the game that I thought Henry was inadvertently verging on an emotional affair with Delilah but that his guilt and feelings of obligation toward Julia would prevent him from actually doing anything to advance his relationship with Delilah from friendly to romantic. After I'd decided this, I kept feeling like the game really wanted Henry to fall in love with Delilah and was pushing me in that direction, and it was jarring. I guess I usually expect to be able to decide the character's feelings (within reason) when I'm given the ability to choose dialog options in games, at least during the time when I'm controlling them.
3. I'm not a huge fan of timers on conversation choices, and I was trying to take a picture of the sunset during that conversation about the missing girls, and while I was fumbling with the camera, both the convo options timed out and I made Henry look like a total teen girl murderer. Sorry, Henry.
4. I didn't connect emotionally to the story aside from the moments I mentioned above. A lot of the time I could recognize intellectually what the game was going for, but I didn't feel the things it was trying to evoke. I wonder if part of this is due to me not having a ton in common with Henry to empathize with. I expect the story would have much more of an impact if the player is any of these: male, married, around Henry's age, attracted to women, a parent (or wants to be a parent). I realize this is a particular story being told here and I respect that, so I don't even know if this is a legitimate criticism or just an issue with me, but I expected to feel something when, for example, the music swelled and I found Brian's body, and I just didn't. I'm also curious how my perception of Delilah might've been different if I wasn't a straight woman.
5. Speaking of Brian, by the time I found him I'd been thinking he was probably dead for hours. Maybe it was the way the backpack was placed, but I thought he'd fallen off that cliff and died there, until I saw the shoe and eventually the body in the cave.
And finally, the ending. When I finished the game I felt the ending was anticlimactic, but now with a little distance I'm finding myself still thinking that but appreciating that quality, which I'm pretty sure was intentional given the isolation aspect of the game. In retrospect, I think not including an actual grand conspiracy or supernatural stuff was the right move.
I guess I had a lot of thoughts about this game! I'm hoping to see more from Campo Santo in the future.
I just wrote a post in the OT that I definitely think being married impacts a great deal how you experience this game. I don't really get the being forced to want a relationship with Delilah thing though. It's obvious Henry is in the woods to kind of forget his situation and likes that Delilah is flirting with him, but I found you had ample opportunity not to reciprocate or even push her away.
The Libertine
Member
I though this was perfect. The way you had to imagine everything apart from the conversations, made it hit home even harder.
I also watched the IGN spoilercast video with Campo Santo and someone made a great point related to this part. The fact there are conversational choices you get to make means you have a certain amount of control on how the story plays out, however as your wife deteriorates, these choices are taken away. You still have to click on the solitary option to progress, but it is as if you lose all control and there is nothing you can do to stop or alter the future.
Sean and Jake from Campo Santo talked about Firewatch with the Kind Funny crew:
From Walking Dead to Firewatch: Campo Santo - Kinda Funny Gamescast
From Walking Dead to Firewatch: Campo Santo - Kinda Funny Gamescast
In many ways, the final day was a perfect reflection of Henry's life before the park...slow realization of some horror, increasing anxiety to leave the situation, path forward becoming murkier and harder to anticipate, and having a woman you're romantically interested in being taken away from you.
Just rubs the salt into Henry's existing wounds, and proves my earlier point that some things can't be changed no matter how hard you try to avoid them.
Just rubs the salt into Henry's existing wounds, and proves my earlier point that some things can't be changed no matter how hard you try to avoid them.
The Libertine
Member
Nice one, I have been listening to loads of podcasts and interviews after finishing the game. It will be interesting to hear what Colin has to say to them, as he was very lukewarm on the game.
Intro totally worked for me, but the ending did not.
Reminded me of a less out-there Kentucky Route Zero, another game (or uh game in progress) that I really enjoy.
I felt this disconnect the most in the conversation where you're watching the forest fire at night. There were a couple of points where I felt like all of the conversation options you're given sound like actively flirting back, which is something I was trying to avoid, so I ended up saying nothing, which was also something I was generally trying to avoid but I guess is always technically a choice you can make. Also Henry takes his wedding ring off and turns down the picture of himself and Julia*, which I interpret as a pretty clear signal of his feelings. That does happen during one of the time skips, and I guess that's technically a part of the timeline when the player is not controlling Henry. It just felt discordant with where I had decided Henry's head was, and because the Henry/Delilah relationship is central to the game, I thought something like that should be in the player's control, if not directly then as a result of player choices.
*I've only played through the game once so I'm not sure if this always happens, but I was actively trying to keep Henry's responses platonic.
Disappointed in the end of the game...
I was totally invested in the beginning. I genuinely believed that one of two outcomes would happen:
Still enjoyed the experience overall, just feel like the ending was very lacking, and that it barely ties back to the entire story setup at the beginning with your wife, her sickness, etc.
It basically amounted to "well that was crazy, hey I should go see my wife now"...
I was totally invested in the beginning. I genuinely believed that one of two outcomes would happen:
- It was you that had dementia, not your wife, and this was "all a dream" or something to that effect
- That D was a metaphor of your wife, or WAS your wife. They made quite a few hints about that, when she was drawing you, etc.
Still enjoyed the experience overall, just feel like the ending was very lacking, and that it barely ties back to the entire story setup at the beginning with your wife, her sickness, etc.
It basically amounted to "well that was crazy, hey I should go see my wife now"...
Fair enough, I don't remember what the options were then. I kind of saw it as a logical lapse. Late at night, lot of things happened, 'romantic' fire, etc. But if you were set on roleplaying Henry as a straight shooter I can imagine it would feel discordant.
Yeah I guess perhaps the largest problem with the game is that the fantastic prologue sets the expectation that the game story will be a fitting conclusion to this intro. When really, it's just setting the context for the game.
Yeah, this idea of conveying things through written word will never catch on.
I just finished and I really liked the ending. It's a human ending, full of unresolved conflicts, sorrow, and maybe a little hope.
I enjoyed the build up of paranoia, only to discover that the paranoia was a result of earlier inaction. The whole game screams about our inability to run away from our pasts.
I was pleased it didn't go a weird, supernatural or conspiracy route. It's just the game I wanted.
I enjoyed the build up of paranoia, only to discover that the paranoia was a result of earlier inaction. The whole game screams about our inability to run away from our pasts.
I was pleased it didn't go a weird, supernatural or conspiracy route. It's just the game I wanted.
This is a pretty good explanation of why this game resonated with me.
I'm actually okay with a more grounded ending as well. I'm one of the seemingly few who the beginning text had an impact on -- my wife sitting next to me while I was playing helped with that. My problem isn't that there wasn't a "twist", but moreso that the ending did so little to tie back to the intro, which for me was actually pretty damn impactful. It was just a bit TOO open-ended for me...give me something to work with!
TheHollowNight
Member
Idle Thumbs Firewatch special edition episode!
It ties back perfectly thematically. Both the main heart of the game and the intro are about our inability to escape the choices we made in the past. Hank can't change what happened to Julia, or how he reacted to it, and Delilah can't change her actions toward the father and son.
At the end we're faced with the choice of trying to move forward without addressing those past inactions, which we've already seen doesn't work, or revisiting them and attempting to find some peace in the decisions we've made.
It's a much more adult piece of work than you usually see in a video game, based as it is on loss and fear.
Salty Hippo
Member
Story didn't make a lick of sense to me. Felt lazy, far-fetched and manipulative.
Please tell me I missed a ton of things.
Why was there a psycho trashing my room, pinning crimes against teenagers on me, cutting off wires, doing a crazy study on me and my boss and setting cabins on fire?
No really I get it, you saw me in the cave, but why would you go to such extent before even checking if I didn't break into the fucking gate you have the fucking keys to?
Why did you leave your son's body there to rot all this goddman time and why did you seemingly give me a key to go see it?
Who is in charge of this cuckooland that they are not aware of the restricted access to your secret cemetery cave and your secret studies with crazy ass NASA equipment that you simply decide to blow up for no good reason?
No really I get it, you saw me in the cave, but why would you go to such extent before even checking if I didn't break into the fucking gate you have the fucking keys to?
Why did you leave your son's body there to rot all this goddman time and why did you seemingly give me a key to go see it?
Who is in charge of this cuckooland that they are not aware of the restricted access to your secret cemetery cave and your secret studies with crazy ass NASA equipment that you simply decide to blow up for no good reason?
Please tell me I missed a ton of things.
I don't think you need to use spoiler tags, since you know... its a spoiler thread.
I don't think you missed much apart from all the interpretations that people have to fill in the gaps.
The story tells you about Ned and Brian from early on i guess. So there is always a missing link between who they are and what happened to them.
The consensus is that Ned is trying to run away from his responsibility from being involved in Brians death. Henry is running away from his wife, and Delilah is running away from her issues. Everyone wants to escape reality in this game i guess, and in the end it catches up to them and they still run away. Ned tries to scare people away so he can hide his guilt. He cut the communication wire to stop any communication, and he scares the girls away and attempts to scare you off. I think he has this idea that he can use misdirection to fool people. But i guess that backfires.
He didn't bury the kid because that would mean to take responsibility.
Not sure about the key... but i guess he thought if he locked you up the first time that you would end with the same fate.
The secluded compound is there to do test and research on some animals. There is a carcass of a deer i think that has one of the sensors that ned uses to ping the tracker. If you looked in the tent they have documents about 4 research subjects. So those were the original subjects.
The thing is that things are not straight forward.. or at least laid out in a way that makes sense right away. So i get where you are coming from. Personally i got to a point in the game where i felt everything was for nothing. All the build up as just nothing. In its resolution it just ended up being a pretext instead of a key element. I am sure there is more to the questions you had.. but i gotta run.
bodyofanamerican
Member
Fucking awesome summation.
Yep. I was kind of lukewarm on the ending, but reading about other people's opinions plus a second playthrough have made me feel much better about it. I'm so glad Firewatch exists, and obviously cannot wait for what this studio does next.
The Last Wizard
Member
So there's always one ending right?
sobaka770
Banned
Finished the game, took about 4 hours.
1. I liked it just for the setting, and I got my money worth just hiking through the visually impressive forest. Great artwork, and, most importantly, great sound effects.
2. The beginning was as crushing as the first 10 minutes of Up.
3. The plot falls flat hard in the end. I really liked the beginning, doing chores, getting rid of stupid teens, just doing the Firewatcher stuff. It's nice escapism and the dialogue is great. If I were to do that for 4 hours and then help extinguish the fire and bond with Delilah, that would be enough for me.
The whole mystery thing was totally unnecessary, it was contrived, the tension is overdone (even the dialogue starts to sound off when they panic) and the payoff was...
Look, with all that amount of quality dialogue it really bugs me they couldn't bring the boy and his father (I don't even remember their names any more that's how forgettable they are) in some interesting and poignant way. They got mentioned a few times, when I was busy doing other stuff and didn't really pay attention, and when the story kicks in, I found the boy's lair and then the body I simply felt nothing. Worse, I was more concerened about remembereing why is this all important. Delilah really should've told the boy's story during a quiet moment in the tower, when watching the first where the lines would be more memorable. There couldn've been other cues to have these characters feature more prominently in the world: couldn't we have the boy's drawings in those loot-boxes instead of letters between Ron and some other guy, the point of which I don't really understand yet? At leasat something to suggest a creepy lunatic living in the forest, like tracks or apparel?
And I mean, I do get the point of the ending, but it could have worked much better if we were invested in that father and son story a bit more, otherwise, I just didn't care much about the death or the father's bunker, and thought way too much about how contrived the whole situation is. As for the overarching themes, they were done well. I played it straight and told Delilah that I need to go see my wife, and it was sad, so that part works. The whole drama really works, I just wish they could embrace that some games can actually just be dramas and stayed with it.
1. I liked it just for the setting, and I got my money worth just hiking through the visually impressive forest. Great artwork, and, most importantly, great sound effects.
2. The beginning was as crushing as the first 10 minutes of Up.
3. The plot falls flat hard in the end. I really liked the beginning, doing chores, getting rid of stupid teens, just doing the Firewatcher stuff. It's nice escapism and the dialogue is great. If I were to do that for 4 hours and then help extinguish the fire and bond with Delilah, that would be enough for me.
The whole mystery thing was totally unnecessary, it was contrived, the tension is overdone (even the dialogue starts to sound off when they panic) and the payoff was...
Look, with all that amount of quality dialogue it really bugs me they couldn't bring the boy and his father (I don't even remember their names any more that's how forgettable they are) in some interesting and poignant way. They got mentioned a few times, when I was busy doing other stuff and didn't really pay attention, and when the story kicks in, I found the boy's lair and then the body I simply felt nothing. Worse, I was more concerened about remembereing why is this all important. Delilah really should've told the boy's story during a quiet moment in the tower, when watching the first where the lines would be more memorable. There couldn've been other cues to have these characters feature more prominently in the world: couldn't we have the boy's drawings in those loot-boxes instead of letters between Ron and some other guy, the point of which I don't really understand yet? At leasat something to suggest a creepy lunatic living in the forest, like tracks or apparel?
And I mean, I do get the point of the ending, but it could have worked much better if we were invested in that father and son story a bit more, otherwise, I just didn't care much about the death or the father's bunker, and thought way too much about how contrived the whole situation is. As for the overarching themes, they were done well. I played it straight and told Delilah that I need to go see my wife, and it was sad, so that part works. The whole drama really works, I just wish they could embrace that some games can actually just be dramas and stayed with it.
^This so much, just finished and I loved every moment of it.
tallbroski
Member
I liked this line more
"Fuck you, Delilah. You lied. And I believed in you, I trusted you. You said We`re going to be fucking watching fires!"
