Introduction
Firewatch is a walking simulator that I, in my hour or so of playing, would categorize as a light horror experience combined with elements of comedy and deeper story and contemplation about the nature of relationship and life. It asks players to reflect on life in its introduction which (spoilers) introduces a man (who you play as) whose wife suffers from early-onset dementia. It destroys her life, and his along with it. Immediately after, the man takes a job in the middle of nowhere; immediately, the game forces the player into situations where they fear for the safety and life of the man, despite everything else.
Analysis
- Objective: Follow Delilah’s instructions; survive; discover how Henry (the player character) will overcome (or not) his problems and how his relationship with Delilah progresses. Find what happens in Wyoming’s national park.
- Players: Singleplayer (player vs. environment, and player vs. other NPCs).
- Boundaries: The game screen, and perhaps where the sound/audio of the game can no longer be heard.
- Resources: Players need a console and PC in order to play
- Procedures: Players can walk around the space, interacting with objects. Certain objects and situations can be reported over the radio for brief conversations with Delilah.
- Rules: (Do video games have rules differentiated from procedures? Something like “don’t hack”?)
- Outcomes: Accomplish goals set out for you by Delilah (and by yourself), explore more of the park, and develop the story.
This game primarily leverages narrative and exploration in tandem with each other to create its fun, and the walking is how both of these progress. The walking tells the story because the story is revealed through Henry’s interactions with the world and his interactions with Delilah; and these interactions are driven by objects he finds, his experiences in the park, and the people he meets in the park. These interactions feel natural and emergent because they are relevant to the objects/situations/experiences/people you naturally encounter via exploring; nothing would progress without the walking. Indeed, movement physically– even if it’s ultimately in geographical circles– is forward movement for Henry, a way to walk farther away from his past (and through that, build the tools and relationships he needs in order to deal with it). Or maybe to walk further into danger and descent; I’m not sure, as I haven’t finished the game. This also creates the horror element of the game (or at least, it was scary to me)– Henry feels extremely human, and the park leverages our fears of the unknown, getting lost, and unclear and confrontational interactions. Just meeting a random shadow of a person in the dusk light as you find your way back becomes heart-racing. All this, without combat or really any other mechanic but walking around, picking things up, and the passage of time over the course of a day.
