![]() On top of that, the writing and voice acting were pretty melodramatic. The method used to pay out bits of story feels forced: periodically, randomly, an unnamed male narrator reads bits of a letter addressed to the eponymous “Esther.” It wasn’t immediately clear where the voice is coming from (was it supposed to be in my mind?) and that turned me off at first. The tasks are only to walk, look, and listen, and that’s what sets DEAR ESTHER apart from its contemporaries. ![]() Players begin the game with full access to the entire island-an island dotted sparsely by decrepit stone houses, cliff walls marked with strange chemical glyphs, and forgotten ship wreckage. There are no weapons, no timers, no missions, no characters to talk to. There are no physical puzzles to solve that allow access to new parts of the world. But DEAR ESTHER diverges from the typical first-person game by obviating the element of intervention. Players take control of a nameless character who arrives on one of the island’s wharves and must navigate through a strange world to discover where and who they are. Set on a rocky and desolate island, the game’s slowly unfolding mystery probes the caverns of one man’s love, loss, and grief. In its new form, DEAR ESTHER has become one of the most lush, dark, mysterious game worlds since MYST. The quiet, unassuming game-now a standalone that masterfully utilizes Valve’s Source engine-started its life under the constraints of a game whose mechanics were geared toward action and maneuverability. DEAR ESTHER has come a long way since its days as a HλLF-LIFE 2 mod.
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