There are pacing issues, but they're inherent to the illusory freedom. Every loading screen elicits a spark of anticipation, because it feels as if anything could be on the other side of that transition. In response to these actions the map can warp, glitch and double back on itself, load into something new, or restart into a false opening. But TSP feels more engaging than other first-person ambulators (like Dear Esther or Proteus) in the way that it's constantly challenging players to find ways of reinforcing their agency over the game.
Moment to moment interactions with the game are light - mostly walking and pressing an occasional button. Depending on the path you're walking, he can be grandiose, affectionate, cold, impassioned, pleading, and, more often than not, wearied.īacking up his versatile performance is the level design, which acts as the third, equally petulant character. He's as trapped by your chaotic whim as you are by his retribution. At times, he feels like an antagonist, but really he's narrative design personified. There are a few reasons it works so well, the most obvious of which is the narrator's character. Some of these 'endings' are lighthearted, some are absurd, some are unnerving, most are self-referential, and many centre around the narrator's attempts to get back to his story.
Each combination of choices leads to something unique. At each of the game's many intersections, you can follow the narrator's instruction or ignore it and face the consequences of your petty resistance. Whatever you choose, TPS branches, and branches, and branches again.
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You're you, with all the free will and sense of rebellion that implies. There are two doors, and you're not Stanley.
When he says that Stanley heads through the left door, you. When he says that Stanley walks through the empty corridors, you walk through the empty corridors. When he says that Stanley leaves his office, you leave the office. Through Stanley's first-person perspective, you follow the narrator's instructions.
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