As its title implies, everyone has vanished and it is up to the player to piece together the events that led to this mass disappearance of the village’s occupants. In Chinese Room’s Everybody’s Gone to the Rapture (2015), the player walks through the sleepy fictional village of Yaughton in Shropshire.
As the player attempts to give presence to past events, they invariably emphasise their own inescapable spectral role. I’m the only one left.' In this paper, I argue that the often lack of interactivity and slower pace found within walking simulators is what accelerates the ‘doubly-haunted’ quality of the dead in video games (McCrea, 2014, p.
I don’t know if anyone will ever hear this.
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