The Fullbright Company’s Gone Home is a game with a very specific legacy. Beyond simply the referential filing cabinet code, this is a game that strongly evokes the storytelling techniques and style of Looking Glass Studios.
Nearly twenty years ago System Shock was released, allowing players to explore and uncover the fate of Citadel Station and its inhabitant; and witness the birth of the unforgettable SHODAN. At the time convincing interactions between players and human characters was challenging. As a means of sidestepping that problem Citadel Station was depopulated, everybody was either dead or had become horrific monsters incapable of coherent discourse. The events onboard Citadel Station were there to be discovered in what its inhabitants had left behind: scattered audio logs and environmental detritus.
In the intervening years other methods have been used to deal with the challenge of interacting with other characters. In Thief: The Dark Project and its successors the City was inhabited, instead it was the player’s role as a thief that discouraged and limited the means of interacting with those characters. Gone Home revisits the method employed by the original System Shock to overcome this still challenging problem, though the Greenbriar home is simply empty, rather than filled with dead bodies, the result is the same.
The Greenbriar home is littered with environmental details, the story of what has happened to your family in your absence is told through notes written to friends, and the placement of specific objects in specific places. It’s a game about environmental storytelling and narrative archeology. The story of the Greenbriar family is developed using the same tools that you use to explore the history and events on board Citadel Station.
Sam’s journal entries, uncovered gradually and potentially out of chronological sequence are, in functional terms, audio logs. Their placement and that of the other environmental details within the house is a way of matching physical exploration to temporal exploration, each area of the Greenbriar home that is unlocked, moves you forward in time through the events of the last year. The same mapping of chronology to physical space can be seen very clearly in BioShock 2 (a game which the core member of The Fullbright Company worked on, and one that itself is heavily indebted to the storytelling and design techniques of earlier games like System Shock). Each area of BioShock 2 represents a different stage in the life of Eleanor Lamb, from her birth and early childhood (Ryan Amusements) to her time spent under the care of Grace Holloway (Pauper’s Drop), through her time as a Little Sister and her eventually recovery and the experiments that were performed on her as a teenager (Fontaine Futuristics and Outer Persephone).
In both Gone Home and BioShock 2 (and of course the previous System Shock games before them) the further onward the player explores physically the more recent the narrative elements within the environment become, until the final moments where the past and the present meet, and the two strands of the story merge.
Consider System Shock 2, the closing stages sees you explore the biomass of The Many while listening to the breadcrumb trail of audio logs recorded by Doctor Prefontaine; at this late stage the past (as represented by the audio logs and other environmental details) and the present are barely minutes apart, in fact you arrive just moments after the doctor meets his fate as recorded in his final audio log. The same experience occurs in the attic of the Greenbriar house, the past as narrated by Sam and the present as explored by you as her older sister Kaitlin, are barely moments apart until, discovering the final journal entry, the final gap between past and present is closed the two threads knitting together.
That gap, that space around and between that which is known is at the heart of what gives this form of storytelling its power. Gone Home and System Shock, these are games about space; not simply physical spaces, the Greenbriar house and Citadel Station, but the space between, the things not said. The entire story of what happens is never revealed explicitly, instead you discover isolated moments of it in the form of an audio log or a written note, the space between those pieces and the other pieces of narrative you collect is left for you to fill. The order in which you discover each piece is controlled somewhat through gating and the mapping of physical space to temporal chronology however it is never enforced, you might miss a piece of information or discovering it out of order and this will change your understanding of the space formed by these pieces.
It is narrative by suggestion and inference, there are specific points that are defined but the space between them, the context in which these things occurred is for players to determine, and potentially reevaluate as new information is presented. In Gone Home, you can discover letters from your mother Jan to her friend Carol, discussing Ranger Rick who has just been transferred to work with your mother. You never know explicitly what your mother’s feelings are towards Rick though you can infer them from the suggestions of Carol and other things you discover within the environment; like the perfect evaluation Jan gives him along with the recommendation that his temporary transfer be made permanent. The implication that your mother is having an affair with Rick (in intent if not in deed) is clear, however this is a context that is fluid and open to interpretation and reexamination. One of the strongest indications of there being some form of relationship between Rick and your mother is the discovery of a book of Walt Whitman erotic poetry under her side of the bed within is a bookmark with a handwritten note by Rick. In the context in which these pieces of information are first discovered the inference is that Rick has given this book to your mother, however there is nothing to confirm that the message on the bookmark is referring to this book and not another; in fact given subsequent discoveries about the relationship of Rick to his girlfriend, and that of your parents it’s entirely possible, potentially even more likely, that the bookmark was referring to a different book entirely and that the presence of the book of erotic poetry in your parents room has an entirely different connotation.
This recontextualizing of information based on new insights is far from exclusive to Gone Home, though it is another aspect common to games of the Looking Glass Studios legacy. Early in Thief II: The Metal Age Garrett is asked to break into Shoalsgate Station and plant evidence against a member of the City Watch, when Garrett begins to question the task he is “distracted” by a bag of coins. Over the course of this mission things are learnt about Lieutenant Mosley (the woman who will benefit directly from the smearing of her colleague) that suggest she is not the most effective member of the City Watch when it comes to dealing with the Pagans. Only later will you discover that she is herself a Pagan working for the wood nymph Viktoria and though it is never explicitly explained this knowledge recontextualises the visit of Shoalsgate Station almost entirely. The appeal to Garrett’s avarice and hubris to distract him and ensure his cooperation is the same technique employed by Viktoria in Thief: The Dark Project, and every action you took within Shoalsgate has served to get one of her loyalists into a position where they could eventually assassinate Sheriff Truart. New information has recontextualised something that on the surface seemed like a simply case of internal politics and betrayal.
The techniques employed by The Fullbright Company in Gone Home have a long tradition, that can be see not only in games from Looking Glass Studios itself but also those influenced by them. That these techniques can be used to tell the story of both the horrific events of SHODAN’s birth on Citadel Station to the simply and honest tale of a Greenbriar family in mid-90s Portland, speaks to the strength and latent emotive power of these relatively simple techniques. To the potential that exists within those spaces between.