Yet, as Jessica Curry tells us, its original genesis wasn’t spurred by a desire to widen gaming’s emotional language. Though it was released back in 2015, Everybody’s Gone To The Rapture is still a frequent citation for those pointing to examples of how the interactive medium can explore complex themes, such as grief, in interesting new ways. READ MORE: ‘Dear Esther’ at 10, and the rise and fall of the walking simulator.Curry’s music was very much a living, breathing characteristic of the game, following the lone player on the wind, framing ghostly re-enactments of past events and wringing out the shifting moods of its pastoral landscape.
Rapture relinquished conventional gameplay mechanics and – as with its spiritual predecessor Dear Esther – emphasised aching isolation over action, underscoring a world weighted by the omnipresent cloud of absence.
Via a blend of its bucolic Shropshire-based setting and the loneliness of its desolate houses, fields and streets, all soundtracked by birdsong, and Jessica Curry’s emotion-stirring, BAFTA-winning score, The Chinese Room’s Everybody’s Gone To The Rapture presented one of gaming’s most strikingly effective depictions of loss.
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