01.28.2011
Analysis by: Emily Greenquist
Dinner Date
“Dinner Date” is a compelling role playing game, structured like no other; it is a psychological, interactive experience.
The player is the subconscious of Julian Luxemburg and is asked to “do the small, unconscious actions we all do,” for him. It is made clear that the player cannot change Julian or the path he chooses; instead, we are active listeners to his stream of consciousness.
The player is the subconscious of Julian Luxemburg and is asked to “do the small, unconscious actions we all do,” for him. It is made clear that the player cannot change Julian or the path he chooses; instead, we are active listeners to his stream of consciousness.
A story unfolds, and Julian’s frustration and self-loathing is not only heard, but manifests by the player’s actions and repeated glances. The tone and pacing is just right. I felt the frustrations of Julian, but not my own. I didn’t want to change him, to fix his mistakes; I wanted to see him through a moment that I understood (but will not spoil for those who have not yet played).
“Dinner Date” is an intellectual game – Byron is quoted, there is a "Waiting for Godot" parallel, and even certain sounds are reminiscent of “Myst” (the ‘93 sensation that made intellectual games cool). “Dinner Date” may be smart, but it’s not stuffy. While playing, my first thought was its similarity to the British sitcom “Peep Show;” both present the humor and tragedy of one’s inner thoughts through the 1st person lens. I like to imagine that the brainstorming for "Dinner Date" was a patchwork of references.
Some would argue that "Dinner Date" is not a game at all; it is a film-like simulation. Personally, I would like to see more games tackling complex and artful topics that film already has a deep history in exploring, and I gladly welcome “Dinner Date” into the fold of games. I encourage you to take a dip into new waters, and see why "Dinner Date" is a strong 2011 IGF finalist.
Play Dinner Date
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