They create worlds: Tunic

One of the things that video games can do magnificently is create worlds. These posts are an occasional exploration of games that I love because of where they take me.

There are video games that strive to recreate the real world in one way or another: the Grand Theft Auto series, for instance, which satirises modern America in many respects, but in others it has been pushing for a more and more intricate, realistic representation of the urban everyday of New York or Los Angeles; or Everybody’s Gone to the Rapture, where a Shropshire village in the 1980s constitutes the naturalistic setting for a cosy apocalypse that wouldn’t be out of place in a John Wyndham novel; or Dirt Rally 2.0 and its rally courses that have struck fear into the heart of this gamer without ever leaving the realm of the real.

Then there are games that create realities distinctly different from our own everyday reality. The likes of Paper Beast, which puts the player inside a virtual world with its own rules and its own forms of life coming to an end, or Device 6, which thrives on the kind of worldbuilding that is possible only with the written word, or Fez, combining the two- and the three-dimensional in ways that wouldn’t be possible outside the virtual spaces inside a computer’s memory.

Tunic is firmly in the latter camp, but that doesn’t make the world it evokes any less impressive.

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