Posts Tagged ‘The Fullbright Company’

You Can Go Home Again: Fullbright Talk Tacoma

By Alec Meer on December 16th, 2014.

Earlier this month, Gone Home developers Fullbright dropped a trailer for their follow-up, Tacoma. It’s set on a space station! People talk to each other! The gravity ain’t all there! There’s a toilet! And, er, that’s about all we found out. So let’s find out some more, by talking to Fullbright’s Steve Gaynor. Discussed: micro-gravity, Demolition Man, Chris Hadfield, being ‘socially conscious’ devs, accidental BioShock inspirations, what of Gone Home can and can’t work in a fantastical setting, System Shock, locked doors and whether Tacoma is more or less not-a-game than Gone Home was or wasn’t.
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Tacoma Is The New Game From The Makers Of Gone Home

By Cassandra Khaw on December 8th, 2014.

In space, no one can hear you EEEEEEEEEEEEEEEEEeee

Another first-person walking simulator in which you play a person in a coma? Oh n– Wait. In Tacoma – and from The Fullbright Company, those who made Gone Home. Tacoma reveal trailer suggests a similar style, but this time you will be playing as a female astronaut tasked with exploring the eponymous lunar transfer station.

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S.EXE: Gone Home

By Cara Ellison on September 26th, 2014.

gross GROSS

Quentin Tarantino has a monologue about Top Gun in the little-known Hollywood metamovie Sleep With Me. In it, Tarantino discusses in his typical teenage terminology how Top Gun, as well as being a romantic Cold War macho-off, is a film about the main character coming to terms with his own homosexuality. Tarantino names this subtextual narrative ‘fucking great’ and ‘subversive’. But it would probably have been much more subversive had it actually been text and not subtext. In game terms, that narrative probably would have been The Fullbright Company’s Gone Home. Yeah I said it. Gone Home is a more explicit Top Gun.

GONE HOME SPOILERS FROM HERE ON~

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Play Gone Home’s Original Prototype… In Amnesia

By Nathan Grayson on October 24th, 2013.

On the left: 'Ahhhhhhh, finally home!' On the right: 'DON'T GO IN THERE DON'T GO IN THERE DON'T GO'

Everything starts somewhere. Even the greatest of successes have humble beginnings, and Gone Home’s previously known origins were already pretty darn grassroots. That makes this revelation about its start as an Amnesia: The Dark Descent mod double-humble, as far as I’m concerned. What I’m saying is, Gone Home could be in a Humble Bundle all by itself. It is that humble. But anyway. Frictional and Fullbright have unearthed the very, very early Gone Home Amnesia prototype, and you can play it right now. Details after the break.

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Gone Home Gets Commentary Mode Today

By Jim Rossignol on October 22nd, 2013.


First-person ’90s ‘em up, Gone Home, receives a free update on the 22nd of this month, in the year 2013. That’s today! Fullbright’s tallest developer, Steve Gaynor, explains: “All of the developers on the game, as well as Sarah Grayson (the voice of Sam), Chris Remo our composer, and (in a super weird & cool twist, to me) Corin Tucker from the bands Heavens to Betsy and Sleater Kinney, recorded audio commentary.” This is a free update, and it’ll work as it does in other first-person games, with triggers around the game where you can hear folks talk about some game-relevant.

Gone Home has proven rather popular, shifting over 50k copies, and making Alec do a biographical skit.

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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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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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