Inmost is a little more complicated than that, but it only talks when there’s something important to say, and to drive it home, it does so while you’re controlling your avatar. There are no levels, no dialog and no obvious ‘this is a game’ moments from beginning to end. It wordlessly and deftly has you controlling the hero, and it tells its story within its gameplay moments in a very connected way. In a lot of ways, Inmost reminds me of Jordan Mechner’s original Prince of Persia. It was a marriage of messaging and mechanics. The moment when one of the protagonists tussled with and escaped from a creepy masked horror was when I realized that I wasn’t passively being given plot points, nor was I mindlessly running away. It tells its story beautifully because the plot is very much intertwined with its systems. It feels like the amalgamation of our two ideologies melded into something we can both appreciate. To which he’ll say – that’s not a game, it’s an interactive story.Īfter finishing Inmost, I want my brother to play it. Games like Firewatch and What Remains of Edith Finch have that interactivity, they just don’t push mastery of a system on you. “I don’t play games for the stories,” he’ll often say, which is his way of ending said conversation. But I posit that they can be so much more than that if you can get past the boundaries of classification. ![]() In his mind, games are the enjoyment of systems and mechanics, and up to a point he’s right – that interactivity and learning is a huge part of it. ![]() In his defense, he’s a jaded former programmer who as of late has veered toward the realm of board games. Sometimes my brother and I get into a debate about what games can and can’t be.
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