Posts Tagged ‘Gone Home’

Level With Me, Steve Gaynor

By Robert Yang on October 16th, 2013.

Level With Me is a series of interviews with game developers about their games, work process, and design philosophy. At the end of each interview, they design part of a small first person game. You can play this game at the very end of the series.

Six years ago, Steve Gaynor started as a level designer at Timegate Studios on the F.E.A.R. Perseus Mandate expansion pack. Then at 2K Marin he worked on BioShock 2 and lead designed Minerva’s Den, one of the few respectable DLCs ever made. After a stint at Irrational Games to help with BioShock Infinite, he went indie with some former teammates to form The Fullbright Company. They all made a lovely thing called Gone Home that has won oodles of awards and emotional acclaim.
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Fullbright On What Lies Beyond Gone Home

By Nathan Grayson on October 10th, 2013.

Probably not this.

Gone Home has been out for a little while now, and in that time it has captured the heart of literally every human being on Earth. Also Alec, but we don’t really know what manner of creature he is. So then, what’s Fullbright up to these days? Resting on its laurels? Basking in the motivation-searing afterglow of past success? Finally realizing that – oh crap – they totally forgot to add in all the guns? Turns out, the answer is none of those things, despite overwhelming plausibility. The next immediate step, then, is more content for Gone Home, but not the sort that might muck up the game’s musty, lived-in history. And after that? Well, probably don’t expect Gone Home 2.

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Indies On SteamOS, Pt 2: Linux, The Controller

By Nathan Grayson on October 3rd, 2013.

Valve? Making its own OS for living rooms? Madness. Pure, coldly calculated and entirely premeditated madness. But SteamOS’ success is far from guaranteed, and it’s got some serious hurdles to overcome before it can establish a New World Order. Last time around, I gathered developers of games like Project Eternity, Gone Home, Mark of the Ninja, The Banner Saga, and Race The Sun to discuss who SteamOS/Steam Boxes are even for and the relative “openness” of Valve’s platform in light of, er, Greenlight. Today, we dig even deeper, into the strange, nebulous guts of Linux and what sorts of challenges and opportunities Valve’s crazy, newfangled controller presents. There are even some hands-on impressions from Dejobaan and Paradox. Read on for THE FUTURE.

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Indies On SteamOS, Pt 1: ‘Openness,’ Potential Pitfalls

By Nathan Grayson on September 30th, 2013.

You probably haven’t heard, but Valve’s officially going forward with its plan to launch its own Steam-centric OS, living room hardware, and a crazy, touch-pad-based controller to back it all up. I know, right? It’s weird that no one has been talking about it incessantly. But while Valve preaches openness and hackability, it’s downplayed an ugly reality of the situation: smaller developers still face a multitude of struggles in the treacherous green jungles of its ecosystem. SteamOS and various Steam Boxes, however, stand to bring brilliantly inventive indie games to an audience that doesn’t even have a clue that they exist, so I got in touch with developers behind Gone Home, Race The Sun, Eldritch, Mark of the Ninja, Incredipede, Project Eternity, and more for their thoughts on SteamOS, who it’s even for, Valve’s rocky relationship with indies, and what it’ll take for Steam to actually be an “open” platform.

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Gone Home: A Tale Of Two Dads

By Alec Meer on August 16th, 2013.

Entirely understandably, the bulk of the deservedly rapturous reception to Gone Home has focused on its unseen narrator Sam, a teenage girl who gradually and powerfully documents her timeless emotional and social trials. While it was certainly the dénouement of Sam’s tale that prompted open tears from me and that will, I sincerely hope, see this game reach a wide audience of human beings, there are (at least) three other stories in this short game, taking more of a background role and enjoying no narrator, or indeed any kind of explicit call for attention.

I found a little extra personal resonance in a particular one of these, and it’s that which prompts me to interrupt my sabbatical from work and post about it now. Be warned that here be both spoilers and navel-gazing.
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Wot I Think: Gone Home

By John Walker on August 15th, 2013.

You will be more interested to read about Gone Home after you’ve played it. And it will be more interesting to write about after everyone has played it. Gone Home is a wonderful game, and one that is fundamentally reliant on its being approached with a clean slate. If this is enough to convince you to give it a go, then perfect. If not, read on and I’ll do my best to say as little as possible while relaying why it’s so compelling. Here’s wot I think:

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Riot, Girl: Gone Home To Launch On 15th August

By Cara Ellison on August 2nd, 2013.


The Fullbright Company’s Gone Home is one of the most atmospheric, interesting narrative-led games I’ve ever played, and I only got to play the first hour of an IGF build earlier this year. The Riot Grrrl soundtracked-game was enough to have me begging for One More Hour, but Steve Gaynor and his team were cruel and went radio silent. Thankfully they’ve popped back up to announce that Gone Home is coming out on the 15th of August on Steam and DRM free on the Fullbright site.

I’d advise you to set aside $19.99 to purchase it on that date immediately. It’s that good. It’s all anyone will talk about for the rest of the year. Read the rest of this entry »

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Steve Gaynor On The Weirdness Of Gone Home

By Jim Rossignol on May 13th, 2013.


There’s a weird tension to Gone Home. On the one hand it should be the most normal thing in the world: an American household. On the other, well, it’s unusual for games to try and tell stories about everyday lives. But that’s precisely what it does, and that’s just part of what makes it so beautifully weird.

I met Fullbright’s project lead, Steve Gaynor, and talked about that. This is how we got on.
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Party Like It’s 1995: Gone Home’s Music

By Nathan Grayson on March 21st, 2013.

I wish every game had a 'scrutinize' button.

NINETIES CHILDREN ARE OVERTAKING THE EARTH. QUAKE IN FEAR OF THEIR LIBERAL NEW IDEAS AND NOSTALGIA FOR THINGS THAT MAKE YOU FEEL OLD.

For real, though, a new generation’s filtering into the upper reaches of entertainment, and their formative influences are quite different from the cornerstones of even just a decade before. It’s quite interesting to watch, and yet – for all the recent fascination with the oddities of Western ’90s culture – we still haven’t seen a game really embrace it. Gone Home, however, is unabashedly rooted in the decade of X-Files and alternative rock, and it’s not just for cheap giggles, either. Having played a bit of the BioShock 2: Minerva’s Den-borne narrative adventure myself last year, I got this sense that its characters and themes wouldn’t really fit in any other time period. It’s excellent, then, to see that Fullbright’s going the extra mile in realizing the era’s eccentricities. See (and hear) youth in Riot Grrrl-flavored rebellion after the break.

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Fullbright On Personal Stories, The FemShep Conundrum

By Nathan Grayson on November 17th, 2012.

Yesterday, we brought you word of many important things about The Fullbright Company’s brilliant-looking Gone Home – for instance, how many guns it will have. I also laid eager hands upon it, if you’d like to know how exactly a first-person ’90s-family’s-hidden-mysteries-uncover-er works. All of which brings us the second installment of my interview with Steve Gaynor and the rest of Fullbright’s merry troupe. Today, we discuss a fairly astonishing range of topics – from what it’s like to live and work together, to twist endings, to gender issues in Gone Home, to creating female characters who are believable (not just generically “strong”), to Dracula. In the process, we venture into some SEMI-SPOILERY territory, so keep that in mind before proceeding.

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Fullbright On The ’90s, How Many Guns Gone Home Has

By Nathan Grayson on November 16th, 2012.

I recently had the privilege of putting on my ’90s-appropriate detective hat and rifling through all sorts of (metaphorical – and some literal) dirty laundry in The Fullbright Company’s Gone Home. It felt a bit like a blend of Fallout 3’s environmental sleuthing and BioShock 2: Minerva’s Den’s brilliantly down-to-earth approach to storytelling. In other words, I resented Fullbright co-founder Steve Gaynor for eventually ending my demo session – with every fiber of my being. So of course, we did what people who resent each other always do: sat down for polite conversation. Along with the rest of the four-person Fullbright team, we discussed ’90s culture, how games can be interesting even when totally devoid of action, exploring non-traditional topics in videogame stories, whether or not notes, audiotapes, and things of the like are a storytelling crutch, and of course, how many guns Gone Home has.   

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Impressions: Gone Home

By Nathan Grayson on November 15th, 2012.

BioShock 2: Minerva’s Den was quite a special thing. It viewed the wildly fantastical world of Rapture through a surprisingly personal, down-to-earth lens, leading to one of the more brilliantly understated conclusions I’ve ever seen in a game. It was, then, with tremendous glee that we collectively squealed when we found out that the main thinkers behind Minerva were forming their own independent studio, The Fullbright Company. But what of their first game, Gone Home, which ups the character-driven mystery drama but throws out the undersea cities and drill arms (there’s not even one!) altogether? Can the seemingly simple act of exploring a house make for a good game? I recently got the chance to take a closer look.

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Fullbright On The Games Gone Home Is And Isn’t Like

By Alec Meer on July 9th, 2012.

Last week, I ran the first half of my recent chat with Steve Gaynor, formerly of Irrational and 2K Marin, and now of indie studio The Fullbright Company – who are working on mysterious, ambitious, suburban-set non-combat first-person game Gone Home. Being as I am an investigative journalist par excellence, I decided that it would be appropriate to spend the second half of the interview forgoing questioning entirely in favour of simply shouting the names of other games at him. Games like Myst, Amnesia, Jurassic Park: Trespasser, Journey and Dear Esther. Rather than hanging up in disgust, he offered fascinating, thoughtful replies on the limits of interactivity in games and the sort of scale Gone Home is intended to operate on.
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