We’ve played adventure games, and that mode can only be so successful at conveying story, at expressing mood or emotion, at highlighting the unique brilliance of the interactive medium.
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The question, though, is how to approach a game like Full Throttle: a game so grounded in an established genre that it makes little, if any, attempt to explore new gameplay ideas? What to do with a game that relies on established mechanics so completely that it seems to seek to legitimize itself entirely through aesthetic, character development, and plot? Some might dismiss such a game out of hand as irrelevant: games haven’t done a whole lot for us in the past twenty years, right? So anything good must come from innovation, pushing the boundaries, doing something different, and new. Full Throttle beckons me because it’s different from the stuff I’ve been reviewing of late, because it’s not a game that typically receives critical attention, and because it’s full of memorable characters and settings, which continue to meander through my mind. I like variety, and it’s my goal with this site to review all manner of games, commercial and independent, old and new. I considered reviewing the more predictable Blueberry Garden (winner of this year’s Seumas McNally at the Independent Games Festival), but with Beaconand Seiklusstill so fresh on the front page, I felt like going in a different direction.
Looking over the games I’ve played and completed in the last few weeks, the one that won’t leave me alone is, perhaps surprisingly, Full Throttle, which I recently played through with my wife. I only review games that I have either just played, or replayed, as I want to make sure that they’re fresh in my head.
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