So nothing like overland. Except for one major aspect of The road to Guangdong It’s the way you travel, on a rusty cruise called Sandy, which you drive and maintain with fuel and parts. “Sunny sees Sandy – her father’s old car – as her relationship with her parents, her childhood, and visiting families. Sandy carries the nostalgia and reassurance of a time of turmoil for Sunny, while she is a speechless member of her family,” says Uwe. Another fragile remnant of the old world in a terrible new reality.
Equally important The road to Guangdong Themes are the narrative choices you make, which ask you to think about what other people want or expect. “Life, family, and the way we experience and manage our relationships are not clearly broken down into right and wrong answers,” says Oy. “The choices we make in the game are more in line with ethical and moral considerations, given the background of the characters and the story presented.” Like Sandy’s care, these choices are a way to reconnect with those around us.
This tension between alienation and human contact is also at the heart of gaming’s most enduring road trip in recent times. Kentucky Road Zero, released in five acts over a period of seven years, is most striking in its grotesque presentation of modern, collapsing America and its disenfranchised citizens. The game’s creators, Jake Elliott, Thamas Kimenzi, and Ben Babbitt of Cardboard Computer watched the ’80s movie. real stories As inspiration, for his slow pace and his lingering shots in background details that highlight the eccentricity of each day. “These are important moments on a road trip,” they say, “to stop somewhere for a moment to check out a map, and see something strange.”
But Kentucky Road Zero It explores this social disconnect and our desire for company and society, using limited forms of interaction, not least when driving. “We were trying to give the player a sense of being lost on the road,” Elliott, Kimmenzi, and Babbitt explain in a group email interview. “You work on a live map, which makes it easy to find things, but then you have to follow the directions given by the people you meet.” In the fourth chapter of the game, you board a steamboat, and the developers explain that this switch, along with the game’s dialogue options, highlights another important aspect of a road trip – being a passenger. “If nothing else,” they say, “the driver needs someone to keep them awake.” “These are the dialogue options, whether you think of the player as a driver or a passenger.”
Kentucky Road Zero Thus it reflects true social regression. “A lot of the social crises reflected in the game have been happening for a long time; call them chronic patterns, strategies, or symptoms,” say Elliott, Kimenzi, and Babbitt. But in the final episode, a group of misfits form a family of their own, and find a haven where they can start over. If true “chronic symptoms” are at the origin of the road trip novel, so is the hope of transcending it.
It’s the same even in the post-apocalyptic period overland. Its world resembles in some ways the fact that the cities are already bloated and deserted. “The places where I grew up are in online ‘abandoned building porn’ slideshows,” Saltsman says. However, even on the road trip to oblivion, there is a hint of new beginnings. “I strongly support Ursula Le Guen’s idea that dystopia and utopia are inextricably linked,” he says. “This utopia for some is a dystopia for others, and vice versa.”