You probably still know Fullbright as the studio behind Gone Home, a delicately experimental first-person yarn about a girl exploring her family home after travelling overseas, and learning about the turmoil in her absence. Picture that game in your mind: the quietness of the hallways versus the crash of a thunderstorm outside, the sickly-sweet 90s décor, the fairy lights and screwed-up balls of paper, the gentle amber pressure of cloistered teenage memories. Now, imagine a faint scuttling behind the skirting boards. A rattling in the pipes. Was there a toilet in Gone Home’s autumnal mansion? I can’t recall, but you should probably steer clear.
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