I’m increasingly of the opinion that Gone Home represents a quiet but significant sea change in the realm of “major” indie games (as opposed to smaller, usually non-commercial affairs, which have been far more daring for a long time). All of a sudden you can have projects with reasonably sizeable budgets and high production values, created by veteran developers with years of experience working in the AAA space, that take the form of quiet romances or dramas. In the years since we’ve had Sunset, Everybody’s Gone to The Rapture, and The Vanishing of Ethan Carter, all first-person affairs which, while dabbling to varying degrees in genre waters, ultimately concerned themselves with smaller, quieter stories. Soma and A Machine For Pigs used their SFF settings to deal with the sorts of heady topics that novels have been tackling for decades, but which are a comparative rarity in games
Campo Santo is a new studio that was obviously heavily influenced by Fullbright’s critical darling. Comprising a sort of super-team of developers who worked on acclaimed indie titles and featuring the artistic stylings of Olly Moss, their debut title takes the Gone Home formula (insofar as anything featured in a single game can be considered a formula) and takes it into brave new territory.