Through the years of brown and grey to the lens flares of yore, video game graphics have gone from pixelated concepts of objects to uncanny valley micro-emotions. But what would have happened if photorealism didn't win out? What would have happened if game developers didn't rally together to breathe realistic life into every screenshot or E3 demo?
Kate Collins' mutterings in Everybody's Gone To The Rapture are seldom enlightening. Yet, the protagonist's comments on "the necessity of presence born from absence" highlight a fundamental examination at play in one of The Chinese Room's most celebrated games. In an experience ruled by absence, how is the perception of the unseen explored in Everybody's Gone To The Rapture?