Annapurna has been one of the boosters of interactive novels over the past few years, publishing games such as SOUTH OF THE CIRCLE, TELLING LIES and WHAT REMAINS OF EDITH FINCH, just to list a few. The recently released OPEN ROADS is yet another quality narrative exploration addition to their library, one that focuses on the dynamics of mothers and daughters via a road trip to discover answers to family history questions.
OPEN ROADS has been in development for far longer than anyone expected. It was first revealed in 2020 at The Game Awards as as a project from GONE HOME development studio Fullbright, founded by Steve Gaynor who oversaw MINERVA’S DEN, DLC for the art deco intellectualism of BIOSHOCK.
If you keep up with gaming news, you may be aware that Fullbright as a development studio has essentially folded after practically everyone quit during the production of OPEN ROADS due to Gaynor’s toxic behavior.
Gaynor stepped down as CEO, but still, eventually everyone left except himself, and Annapurna allowed those that formed Open Roads Team to separately work on OPEN ROADS.
Sadly, this is a recurring theme within the gaming industry. Just a handful of days before penning this post, it was revealed that the narrative head and, later, CCO of Deck Nine — who developed of some of my favorite LIFE IS STRANGE games, games that mean so much to queer individuals — much like Fullbright’s GONE HOME — the creative environment was absolutely toxic.
My apologies for the severe digression. It’s awful that the working environment behind so many emotionally sensitive games that resonate for marginalized folks are still helmed by toxic assholes who take advantage of their position of power, but I feel the context is necessary.
Anyway! OPEN ROAD is a raw and unvarnished exploration of lives lived, but buried and hidden. It is definitely more of an interactive novel than a proper game — there are no fail conditions, there’s no risk; it’s a small interactive tale of a mother and daughter exploring their past and roots, mostly via car trips and the occasional abandoned abode. It’s simple, yes, but extremely effective if you’re into these sort of interpersonal stories that explore the nature of human behavior and emotions and coping and willful ignorance.
If there’s one facet I’d complain about, it’s that the character designs for the mother — Opal — and the daughter — Tess — is severely at odds with the 3D realism of the background surroundings. It’s especially jarring when they’re driving in the car as the environments are startling realistic, whereas the characters are very expressionistic. I will note that the design for the characters is very winsome and expressive, but the the game does have an undeniable visual dissonance.
I’m sure that approach was done by intent, and perhaps meant to be unnerving and evoke how fantastical this trip is — how it’s dreamlike — but from an aesthetic perspective? It did unmoor me.
It’s a wonder that this game was released to the world, despite everything. It’s so heartfelt and feels so personal and I can’t help but love and revel in it. It’s perfect for a Sunday afternoon play, especially if you aren’t afraid to shed a few tears.