![]() ![]() Like some other games that deal with player choice, it also takes the time to mock the illusion of free will this creates. You walk through one door or another, go up or down in an elevator, and so on, and are rewarded with different endings. Stanley makes use of branching paths, a much more familiar structure in videogame narrative. Rather, it’s concerned with how events define types of stories. Stanley isn’t interested in how people make stories out of chance events. You try to reconstruct a story, but the material you have to work with is inconsistent and ambiguous. After playing it twice, they are mostly subtle enough to be put down to tricks of the memory. The game doesn’t signal these changes, so they remain invisible on a first playthrough. Ghosts appear or don’t streams run in opposing directions revelations change. Other objects in the world change between playthroughs. The variations are often subtle, but they can introduce different or conflicting pieces of information. At each triggering point, the game randomly selects snippets of voiceover from a few possibilities. The game itself shares this lack of predictable logic. Maybe the whole event happened for no reason at all. Later the narration questions whether Paul was even drunk. The resolution is not reached, or at least, it wasn’t any of the times I played the game. This is narrative logic, looking for a comforting collapse of the causal chain. Paul caused this event, so the narrator tries to resolve matters with him. He visits someone named Paul, supposedly the drunk driver of the car that killed her. The narrator wants to understand why Esther died. The narration itself concerns someone trying to make sense of a tragic event. Much of the narration concerns a similar trip across the island. In Esther, the player explores an island, listening to a voice, and tries to piece together what happened there. One of these turns out to unsettle players much more than the other. One features a protagonist trapped in a deterministic world, and the other a protagonist trapped in a non-deterministic one. Dear Esther is about how people force incomplete and untrustworthy information into story structures. The Stanley Parable is about how story structures mock the idea of free will. A story, traditionally, is a sequence of events that follows a chain of cause and effect. While both games are about storytelling, they approach the theme from opposite directions. They also share a concern with stories and how they satisfy, or fail to. They both use the Source engine and share a mechanic of walking around a space and triggering voiceover snippets. We want to live in a deterministic universe.ĭan Pinchbeck’s Dear Esther and Davey Wreden’s The Stanley Parable have a lot in common. And we tend to find effects clearly linked to causes comforting. Narrative logic just means whether a thing satisfies you or not. Logic isn’t what we’re really talking about here. We complain about minor engineering decisions made in a weapon the size of a moon, in another galaxy filled inexplicably with humans. You can talk about stories in terms of logical chains of cause and effect, but to think of this as an objective measurement is misleading. It implies that there’s some objective physics of how storytelling works, and stories fail when they violate those physics. Does a thing hang together, make sense? Does it have plot holes? How shall we plug them? How can we make it all correct? The metaphor suggests an orderly process, like solving an engineering problem. 1080p Ultra will return 200+ frames, then the larger screen resolution of 1440p can deliver 200+ FPS, with the 4K resolution seeing 200+ FPS in Ultra as well.Often we talk about narrative logic when we talk about stories. The GeForce RTX 2080 Ti Super can chew through the graphical performance needs of the game with relative ease. ![]() In summary, if you are looking to play Dear Esther: Landmark Edition in Ultra then you have come with the right graphics card. Especially if you have a Intel Core i7-9700K 8-Core 3.6GHz processor or better. We would recommend 4K as the way to go here. The GeForce RTX 2080 Ti Super along with the right system memory, 1GB, is very capable of getting top FPS results even at 4K Ultra graphics settings. This GPU can play Dear Esther: Landmark Edition at a respectable 200+ frame rate on 4K Ultra. Those frames are achieved on Dear Esther: Landmark Edition when being played at 1920x1080 screen resolution and on High graphics.Īt $0.48 per FPS at 4K, if we assume the GPU’s launch price. The experience of playing Dear Esther: Landmark Edition through a GeForce RTX 2080 Ti Super is going to get a very strong 200+ FPS. Low Vs Ultra GeForce RTX 2080 Ti Super Performance Review
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