I haven’t played Amnesia: A Machine for Pigs yet. I still need to replenish my supply of boxers from when I played the first Amnesia. I have heard though, however, that A Machine for Pigs isn’t as interactive as its predecessor and feels more like a ride that lets you walk around sometimes.
For a written feature on Edge, The Chinese Room director and composer Jessica Curry spoke a little about this criticism and wondered why diversity in games is such a frightening concept to some.
“We’re often asked at The Chinese Room whether we’re anti-games, or whether we’re trying to deliberately subvert the medium. This question felt valid after we made Dear Esther, as the game (unintentionally) brought something new to the table and as a result raised some interesting debates,” says Curry. “Move forward two years and a great deal has changed on the gaming scene. So when Amnesia: A Machine For Pigs was released we were really surprised to still be facing the question (and sometimes naked hostility) as to whether we are aiming to create interactive fiction rather than games.”
“This question rests on the idea that games are purely driven by mechanics and goals, and this seems laughably outdated as a concept. Why do we feel the need to classify and name and label before we can enjoy something? Do I need to know whether or not Bach sits in the classical canon before I can appreciate his incredible music? For me, the key is whether it’s an engaging experience (or not). The increasing breadth and diversity in games – a medium that ranges from Tetris to Gone Home – is wonderful. Why is difference such an enormously threatening concept?”