Touched By The Hand Of Mod: Dear Esther (Thanks, Jim!)
If you're looking for fun, I've no idea why you're playing Dear Esther in the first place. This is fearless, classical tragedy. It ends with the sound of a heart monitor flatlining, for goodness' sake. Lead designer Dan Pinchbeck describes it as "an interactive ghost story," but the inevitable connotations of that are misleading. This isn't about bumps in the night or any other hackneyed horror archetypes. It's deep, heart-tugging, emotional trauma. Dear Esther is indeed ghostly and ethereal, but it's all thematic notation. Really, the only horror is in realising how truly heartbreaking this tale is.
Some people will tell you it's not a game. Depending on your definitions, maybe it isn't. You play as... well, that's never revealed, and since it's all in uninterrupted first-person, you've no way of finding out. During your time on what initially appears to be a remote Hebridean island, a disembodied voice will read fragments of a series of letters, written to a woman named Esther who we're never introduced to. And you'll explore, climbing higher and higher up the mountain in the centre, piecing together the proverbial puzzle and trying to establish, often in vain, just what this place is.
I write books. My latest is a YA science fiction novel called Homeland (it's the sequel to Little Brother). More books: Rapture of the Nerds (a novel, with Charlie Stross); With a Little Help (short stories); and The Great Big Beautiful Tomorrow (novella and nonfic). I speak all over the place and I tweet and tumble, too.