Like its 2015 cousins, there’s also a unique gameplay mechanic that manipulates the game’s supernatural element. The island and its inhabitants are rendered in beautiful, moody 2.5D graphics, with elements like speech and thought bubbles lending interactions an almost Sims-y air. You’ll wander about the environment looking at and interacting with things, any backtracking leavened by scripted incident, as you work through the central supernatural mystery. Oxenfree blends concepts from last year’s Life Is Strange and Whispering Willows into a sidescrolling, dialogue-driven adventure game. Together with new stepbrother Jonas and friends Ren, Nona, and Clarissa, Alex explores Edwards Island, plunging facefirst into a truly bizarre supernatural nightmare. People come here to fuck, we’re told, and aside from that the island is either painfully boring or full of mystery, depending on who you ask. You are Alex, a teenage girl on an excursion to Edwards Island, a tourist trap with shops and a beach and a disused military base. Oxenfree is one of these unicorns, and while it’s not perfect, its speech system is a model for how to treat dialogue in video games. So games with genuinely naturalistic dialogue are the unicorns of the industry, and must be treasured. To some degree, it’s inherent to the medium - video game writers have to bring their work to an equilibrium with the requirement to tell the player what to do in gameplay.
The worst thing about most video games is the dialogue.
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