![]() It’s a jarring intrusion into this otherwise tranquil world. Right in front of you is a red telephone booth if you approach, it rings, and a disembodied voice tells you to shut down the ‘optical array’ (whatever that is). Blue skies, full trees, birdsong and butterflies greet you on the edge of town as the story begins. I played Everybody’s Gone to the Rapture for around 30 minutes or so, and by the end, I think it’s all of those things, but starting out on the edge of the village, I was struck by how beautiful and inviting the village of Yaughton is on a summer’s day. We really wanted to make it feel real and tragic and beautiful and frightening.” There’s no hero in this game that’s going to save everybody. “He said, ‘That’s the game I want to make.’ I thought that sounded really, really good. I’d be a pile of ash and bone on the floor. “He loves games and he’s passionate about post-apocalyptic games, and he said, ‘If we went through this in real life, there’s no way I’d be the square-jawed hero running through saving everybody. “Dan said the most amazing thing to me at the beginning,” she tells me. It showcases 13 new minutes of gameplay from Everybody's Gone to Rapture, with both Jessica Curry and Dan Pinchbeck providing commentary.)īut why is the end of the world taking place in a sleepy rural community? Jessica Curry – the composer of Everybody’s Gone to the Rapture and the studio head of its developer, The Chinese Room – tells me it all leads back to a conversation she had with Dan Pinchbeck, the game’s creative director, years and years ago. (If you missed our IGN First drop on Monday, you'll want to check out the video above.
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