GamesBeat Makes Everybody’s Gone to the Rapture Shine
The Chinese Room (Dear Esther) has delivered another highly artistic and wonderfully inspired gem. Well, or so certain critics believe. Everybody’s Gone to the Rapture has proven to be a polarizing product, resulting in review scores as low as 4 and 5 and as high as 10. Therefore, we wanted to find a review that, regardless of score, makes the reader feel the game with every step, and conveys the overarching goal of the developers. Obviously, in this case, this is supposed to be a surreal, memorable adventure.
So, we turn to GamesBeat for an excellent review that, while not waxing overly rhapsodic, captures the essence of Rapture. It’s not about pressing a lot of buttons, nor is it about a series of disturbing imagery. Rather, the disturbing elements of the game are subtle; there’s the finality and hopelessness of the situation that continues to assault the senses with every step. That’s what critic Giancarlo Valdes talks about, and the accessible structure – with distinct “what you like” and “what you won’t like” sections – makes it even more readable.
For games like this, we require a deft touch, and your conclusion isn’t what’s important. How you present your critique is what matters and that’s why we especially like this particular review.
Why We Like It:
— There’s a clear focus on the story and environment, which is precisely what the game thrives upon. This gives the reader a very good idea of what the experience is like.
— Properly approaches this review with the understanding that it’s not like other games, that while still interactive, it’s also a piece of visual moving art.
— Well-structured and easily digestible; it’s not especially dense or rambling, which is a trap into which many critics fall when evaluating these kinds of games.