Firewatch is a new narrative-and-exploration game from Campo Santo, put together by a skilled crew including Sean Vanaman and Jake Rodkin, writers on season one of Telltale’s The Walking Dead.
It took me about five hours to play; people who are more efficient or look at fewer scenery objects might make it through in four. It is effectively a short story, with a single emotional arc and minimal branching. I’ve seen people comparing it to Gone Home, but more happens in the present setting of the game; I also found a few moments that reminded me of Everybody’s Gone to the Rapture, but it is ultimately a very different game from that as well.
Firewatch tells the story of Henry, a guy whose wife Julia is suffering from early-onset dementia. Henry isn’t really equipped to handle that fact. He volunteers for a position watching for fires all summer in Shoshone National Forest. His main – and for a long time really his only – point of contact with other people is through his radio, which allows him to communicate with his supervisor Delilah. He lives in one tower in the woods and Delilah lives in another, far away; Delilah manages other lookouts, but we never communicate with them. Over the course of the summer, Henry spends a lot of time hiking the woods to various spots to do errands at Delilah’s instruction. Gradually, they begin to realize that there are more people out here than they knew about, and that someone is watching Henry and Delilah specifically. There are also, here and there, notes from rangers who used to watch these woods but who have now gone on to other work elsewhere, and hints of the hikers who passed through these woods before.
The game sets up Henry’s backstory through a piece of choice-based text, a passage that could quite plausibly have been prototyped in Twine, interspersed with scenes of his arrival in the woods. The hypertext portion gives you a chance to do a little immediate personalization of Henry. I don’t have the impression your choices there pay into any major story changes, but they do lightly tweak what Henry will say about himself later, and a few props he has. We see the effects of this more or less right away in the game world, in that we pick one of two ways that Julia might have sketched Henry, and then shortly afterwards see the sketch itself: an early promise from the game that there will be perceivable consequences for your choices.
Emily Short's Interactive Storytelling 