Pub­lisher SCE De­vel­oper The Chi­nese Room For­mat PS4 Re­lease 2015


Like Lars Von Trier’s film Me­lan­cho­lia, Ev­ery­body’s Gone To The Rap­ture ex­plores the minu­tiae of people’s lives in the con­text of the end of the world. Around Rap­ture’s bu­colic open world are seeded echoes from the past – snip­pets of con­ver­sa­tion or even a heated ar­gu­ment from a time when this seg­ment of 1984 Eng­land wasn’t aban­doned. And you’re free to ex­plore at your leisure, dis­cov­er­ing ar­eas and sto­ries as you choose.

It’s also your de­ci­sion as to whether you fol­low these echoes’ move­ments around the world once they be­gin, or lis­ten to only the be­gin­ning and leave. If you do this, though, you won’t be able to go back and restart the event. You can also tune what you’re lis­ten­ing to by tilt­ing the DualShock, al­low­ing you to choose be­tween mul­ti­ple con­ver­sa­tions.

While it seems you are the last hu­man left on Earth, you’ll en­counter five AI char­ac­ters as you progress. The first is a glow­ing ball that, when ap­proached, will lead you to par­tic­u­lar sto­ries in the world. Co-di­rec­tors Dan Pinch­beck and Jes­sica Curry want you to form re­la­tion­ships with these char­ac­ters as you be­come more in­ter­ested in what they’re try­ing to show you. While Rap­ture, like Dear Es­ther, is all about de­liv­er­ing a nar­ra­tive, giv­ing play­ers the agency to ex­pe­ri­ence it as they choose should make for a sig­nif­i­cantly more in­trigu­ing jour­ney.

The game takes place in 1984 in the English coun­try­side. It’s an un­com­mon set­ting for a game – for now. Games de­vel­oped in the UK will only qual­ify for tax re­lief if they are deemed to be cul­tur­ally Bri­tish

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