![]() That disembodied voice is part of what makes the game worth experiencing: Firewatch’s big draw is the relationship that forms between its main character and his dispatcher, who is both his only colleague and his lifeline to the outside world. ![]() Instead, there is a walkie-talkie, and the voice you hear on the other end of it. There aren’t any phones in Firewatch, the debut game from Campo Santo, a tiny indie dream team of a studio based in San Francisco. When was the last time you left a voicemail? Yet here are video games, talking to us, and to the characters we’re inhabiting, more than ever before. ![]() Once talking on our phones became optional, we decided that we were going to do it as little as possible: We prefer texting to talking, partly because smartphones aren’t really designed to value vocal communication, and partly because it’s a social anxiety that we’d rather do without. One of the great ironies of video games - which by nature and necessity are one of the more technologically progressive mediums - is how much they’ve learned to lean on recorded voices to communicate with the people who play them, even as humans use their voices less in real life. ![]()
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