This review contains spoilers
I've never struggled with writing a review for a game like I have with Firewatch. Upon finishing it and collecting my thoughts, I was left feeling extremely conflicted and confused. That’s the main reason why I decided not to give the game a score at the time of writing this. The common consensus of Firewatch is that it’s a well written walking sim with a really unsatisfying twist and downer ending. It felt like the game was giving you choices that might determine the outcome of the narrative, when that really wasn’t the case at all. Of course, I initially thought that too. It felt like the game was building up to something much more than that, something bigger, and when you make it to the end and you find that there really isn’t anything else to it, you’re left feeling disappointed and empty. The thing is, I feel like that was the point the game is trying to make.
I believe that the primary message of Firewatch is that when life throws awful things your way, or when you make poor choices that lead to horrible consequences, you need to face them head on, and you can’t rely on escapism to avoid them, because at the end of the day, your problems will still be there. I think that the main plot delivers this message in a way that’s very difficult to swallow. Delilah mentions at the very beginning of the game how people only take the job of a fire lookout in order to get away from something, specifically she means the things in life that are burdensome or traumatizing. Henry is there as a way of coping with the fact that his wife is suffering from dementia and had moved back in with her family in Australia. She might not even remember who he is anymore, and he doesn’t want to face or accept that.
Delilah is there to escape from the fact that her ex-boyfriend, Javier, left her after his brother was killed in a town called Gillette (which, after doing some Googling, is apparently a town known for mining, which could mean that he died in a mining accident). He left because Delilah was too focused on her dream of becoming an instructor for the Wyoming Outdoor Leadership School and she didn’t provide any sort of emotional or moral support to him during this delicate time. Delilah also ended up lying to her sister about the reason behind the break up, stating that Javier had sex with their neighbor, and had continued to lie about it for over ten years.
Then, there’s the Goodwins, Ned and Brian. It’s not revealed in-game why Ned and Brian were at the park to begin with, but I think it’s highly likely Ned just wasn’t happy with how his son was turning out. Brian was an introverted boy who loved science, fantasy, and comic books, and Ned very much gave off the impression of being your stereotypical stern, masculinity-obsessed Father who didn’t understand any of that stuff and wanted his son to be more of a man. Based on the cassette tape he leaves for Henry at the end of the game, I suspect he brought Brain out there in order to put some hair on his chest, or something like that. Then, after Brian’s death, Ned chooses to live in the woods alone, both in order to make sure that no one learns about what happened to Brian and finds his body in cave 452, and so that he didn’t have to face the reality of his son’s death and the consequences of bringing Brian out into the wilderness when it was against park regulations.
The game leaves this up to the player’s interpretation, but I think that Delilah was likely supporting Ned the entire time. The conversation that you overhear near the start of the game, after you first emerge from cave 452 and encounter the mysterious figure, clearly indicates that she was talking to someone about Henry, and that it was a conversation you were not meant to hear. If there was no conspiracy, no government agents recording Henry and Delilah’s conversations over the course of the summer, and it was just Ned out there the entire time, then I don’t see how Delilah could’ve been talking to anyone else during that conversation. Ned was probably freaking out regarding the fact that you went into the cave. You also have to consider Delilah’s position as the manager of the fire lookouts. When you find Ned’s bunker at the end of the game, it’s filled with supplies, and unless he’s just been going around stealing from campers all of these years, I don’t see how he was able to get these things without Delilah’s help. She likely ordered additional supplies be delivered and shared them at various supply caches for Ned to collect from. I think she might have done this because she knew about Brian’s death. Either she sympathized with Ned’s desire to stay in the park and keep from facing reality, or she was afraid there would be repercussions against her since she had more than ample time to report Brian’s presence to higher-ups and didn’t say anything. Regardless, I think that by the end of the game, she’s overcome with guilt and regret over what happened and comes to the realization that she and Ned were wrong to do what they did instead of owning up to the mistakes they made.
That’s why I think the narrative unfolds the way that it does. Players likely go into Firewatch not really knowing what to expect, thinking that it’ll be a piece of media that can act as a way to entertain themselves and use as a temporary escape from their own problems in life. When they find the game doesn’t really provide that, that the story that was seemingly being built up doesn't go in the direction they expected to, and then concludes the way that it does, I totally get feeling burnt by that. I certainly felt the same way in the heat of the moment. In conjunction with the narrative, I believe this is the game’s way of communicating its themes regarding escapism. You can use things like art and media to distract yourself from whatever it is in life that you don’t want to acknowledge, but until you face them yourself, no matter what you do, your problems will always be there. It’s an extremely bitter pill to swallow.
Did I have fun with Firewatch? I’ll be honest: no, I didn’t. However, I do think that Firewatch most definitely affected me in the way the creators intended to. That’s what makes reviewing this game so difficult, and why it leaves me so conflicted. I truly feel like I can’t give this game a rating. It’s weird, I’ve never run into something like this before. I’m usually able to easily express my opinions, how I came to form them, and rate a game based on them. Firewatch is entitled to all of the credit in the world for making me think and mull over so hard about it. It’s absolutely a worthwhile experience and something to discuss and debate with others, which in all honesty, is one of the highest compliments you could give to art. That being said, I can’t say that it’s a game I enjoyed at all, nor is it one that I think I can fondly reflect on. Maybe it’s because to a degree, I feel called out by it. Maybe it’s because I just can’t get over my immediate reaction of being let down that everyone else has towards the twist and ending. I really don’t know. All I know is that I really don’t like how this game makes me feel.
I believe that the primary message of Firewatch is that when life throws awful things your way, or when you make poor choices that lead to horrible consequences, you need to face them head on, and you can’t rely on escapism to avoid them, because at the end of the day, your problems will still be there. I think that the main plot delivers this message in a way that’s very difficult to swallow. Delilah mentions at the very beginning of the game how people only take the job of a fire lookout in order to get away from something, specifically she means the things in life that are burdensome or traumatizing. Henry is there as a way of coping with the fact that his wife is suffering from dementia and had moved back in with her family in Australia. She might not even remember who he is anymore, and he doesn’t want to face or accept that.
Delilah is there to escape from the fact that her ex-boyfriend, Javier, left her after his brother was killed in a town called Gillette (which, after doing some Googling, is apparently a town known for mining, which could mean that he died in a mining accident). He left because Delilah was too focused on her dream of becoming an instructor for the Wyoming Outdoor Leadership School and she didn’t provide any sort of emotional or moral support to him during this delicate time. Delilah also ended up lying to her sister about the reason behind the break up, stating that Javier had sex with their neighbor, and had continued to lie about it for over ten years.
Then, there’s the Goodwins, Ned and Brian. It’s not revealed in-game why Ned and Brian were at the park to begin with, but I think it’s highly likely Ned just wasn’t happy with how his son was turning out. Brian was an introverted boy who loved science, fantasy, and comic books, and Ned very much gave off the impression of being your stereotypical stern, masculinity-obsessed Father who didn’t understand any of that stuff and wanted his son to be more of a man. Based on the cassette tape he leaves for Henry at the end of the game, I suspect he brought Brain out there in order to put some hair on his chest, or something like that. Then, after Brian’s death, Ned chooses to live in the woods alone, both in order to make sure that no one learns about what happened to Brian and finds his body in cave 452, and so that he didn’t have to face the reality of his son’s death and the consequences of bringing Brian out into the wilderness when it was against park regulations.
The game leaves this up to the player’s interpretation, but I think that Delilah was likely supporting Ned the entire time. The conversation that you overhear near the start of the game, after you first emerge from cave 452 and encounter the mysterious figure, clearly indicates that she was talking to someone about Henry, and that it was a conversation you were not meant to hear. If there was no conspiracy, no government agents recording Henry and Delilah’s conversations over the course of the summer, and it was just Ned out there the entire time, then I don’t see how Delilah could’ve been talking to anyone else during that conversation. Ned was probably freaking out regarding the fact that you went into the cave. You also have to consider Delilah’s position as the manager of the fire lookouts. When you find Ned’s bunker at the end of the game, it’s filled with supplies, and unless he’s just been going around stealing from campers all of these years, I don’t see how he was able to get these things without Delilah’s help. She likely ordered additional supplies be delivered and shared them at various supply caches for Ned to collect from. I think she might have done this because she knew about Brian’s death. Either she sympathized with Ned’s desire to stay in the park and keep from facing reality, or she was afraid there would be repercussions against her since she had more than ample time to report Brian’s presence to higher-ups and didn’t say anything. Regardless, I think that by the end of the game, she’s overcome with guilt and regret over what happened and comes to the realization that she and Ned were wrong to do what they did instead of owning up to the mistakes they made.
That’s why I think the narrative unfolds the way that it does. Players likely go into Firewatch not really knowing what to expect, thinking that it’ll be a piece of media that can act as a way to entertain themselves and use as a temporary escape from their own problems in life. When they find the game doesn’t really provide that, that the story that was seemingly being built up doesn't go in the direction they expected to, and then concludes the way that it does, I totally get feeling burnt by that. I certainly felt the same way in the heat of the moment. In conjunction with the narrative, I believe this is the game’s way of communicating its themes regarding escapism. You can use things like art and media to distract yourself from whatever it is in life that you don’t want to acknowledge, but until you face them yourself, no matter what you do, your problems will always be there. It’s an extremely bitter pill to swallow.
Did I have fun with Firewatch? I’ll be honest: no, I didn’t. However, I do think that Firewatch most definitely affected me in the way the creators intended to. That’s what makes reviewing this game so difficult, and why it leaves me so conflicted. I truly feel like I can’t give this game a rating. It’s weird, I’ve never run into something like this before. I’m usually able to easily express my opinions, how I came to form them, and rate a game based on them. Firewatch is entitled to all of the credit in the world for making me think and mull over so hard about it. It’s absolutely a worthwhile experience and something to discuss and debate with others, which in all honesty, is one of the highest compliments you could give to art. That being said, I can’t say that it’s a game I enjoyed at all, nor is it one that I think I can fondly reflect on. Maybe it’s because to a degree, I feel called out by it. Maybe it’s because I just can’t get over my immediate reaction of being let down that everyone else has towards the twist and ending. I really don’t know. All I know is that I really don’t like how this game makes me feel.
Firewatch dares being about a catharsis that never comes. And that's exactly what breaks my heart about it.
This review contains spoilers
Real life isn't satisfying. Going out into the woods for an entire summer doesn't mean all of your personal woes automatically get solved. Obsessively pursuing what you perceive to be a conspiracy against yourself doesn't mean you get a neatly-wrapped conclusion. Fires don't wipe the land perfectly clean, but instead leave suffocating ash and smoke in their wake. Going out of your way to fix a particular problem more often than not just leaves you with more. This is a theme that I could see being adapted brilliantly as a video game, but the problem is that Firewatch doesn't try to emulate real life, instead it tries its hardest to be a movie. Beyond just being a walking simulator about the great outdoors where you're pretty much only allowed to traverse man-made paths, the game skips through all of the "uninteresting" parts of your job as a lookout to make sure something important's happening at all times. It's so sanitized, so free of anything that's slightly inconvenient or boring, that you really can't call it anything but satisfying, and therefore can't call it anything but a failure at getting its point across as a video game. I'll fully admit that my rating here is entirely for the concept and atmosphere. It puts the barest amount of effort in and still manages to be unnerving, which is why it's so frustrating. It really seems like these guys wanted to make a movie, and they should have! But then again, if they did, they probably would've had to rewrite Delilah to be a real person with a real personality instead of just another endless dispensary of sarcastic quips. Probably not worth the effort.
FUCK i forgot the turtle
a self-satisfied hoodwink; an open assault and battery on gamers. these developers hate you and they're only in the industry to debase it
Before delivering on any of its digital impressionist vistas, Firewatch throws us into a black screen where we get to choose how we fail our loved one. We can only fail them, however hard we try, and that is our introduction to the game. It's a brief section, but it sets player expectations for narrative decision making in Firewatch, and demonstrates how even the smallest piece of player agency can make for something emotively charged when done well. As with Telltale's The Walking Dead it's not about mechanical branches, but about the player participating in the drama, providing the human angle to the game's events. As blockbuster games become more elaborate with the way they deal with cause and effect, indie games isolate moments of reflection, forcing the player to consider their own values as they work through what's happening on screen. Kentucky Route Zero does this with free association such that the player begins unconsciously drawing out their own fears and anxieties, but in Firewatch we simply participate in constructing Henry's bullshit. He's doing the wrong thing, reasonably or unreasonably, and when called out he's unlikely to tell the truth, because he himself has lost his mooring. Whatever we say is the right thing, because anything we could say would be wrong.
Firewatch has received widespread praise for its visual style, and for good reason. Where similarly expressive works such as Inside and Shelter are so commanding in their style that the player can only act in accordance with their logic, Firewatch holds back for an openness that makes it feel conventionally navigable. Its colour palettes draw on the jarring experiments of Proteus but its forms and textures are staunchly mimetic, and its pastel finish draws it back into stylisation compared to contemporary The Witness. This last point is critical, as the diffused colours and light effects make the game feel like an echo; like it's happening in past tense. Whatever narrative reason frames the game, there is a wistful quality to Firewatch that brings with it a knowing melancholy that this is all a fabricated memory. Even when outside influences threaten this rose-tinted utopia, when the developers employ cinematic ellipsis to have the world of Firewatch step down in favour of character-centric drama, the player feels it calling back through time. The parallel here to Henry is obvious, as he clearly needs to get back to the responsibilities of his life outside of Firewatch, but as the mysteries of the game grow more pronounced and even dictate our engagement in the dream-environment, the player's affective link to it is broken in favour of someone else's enacted drama. Prince Avalanche, another work in the wake of the Yellowstone fires of 1988, better handled this temporal unease, allowing the viewer to wander around Alvin and Lance's narrative instead of being chained to it. The story in Firewatch is good in the sense that it's well paced and often frightening, but a stronger work would have been made if it had been pushed into the background, allowing us to become one with the environment, and with loss itself.
There is the sense that Campo Santo are well aware of this, and opt for a balance between the much derided 'walking simulator' and a more obvious narrative compulsion to satisfy all potential parties. Rather than feeling lost, we come to watch someone else being lost, and the most compelling embodiment of isolation (the environment) becomes the stage for dialogue-driven storytelling about precisely this. I'd opt for an inverse balance of narratological and ludic components (in order to enhance the emotional significance of both), but can't begrudge how well the developer goes in the opposite direction. The dialogue is perfect, the performances uniformly tender when tender counts and guarded when it doesn't, the map circular enough for linear storytelling. The story is a con, the conclusion invariably a betrayal, but where the game's scripted 'moments' and role-plays subside are the small instances of individual panic and satisfaction that the player takes with them into the day, the week, the month. I can't wait to see what Campo Santo will do without feeling the need to compromise.
Firewatch has received widespread praise for its visual style, and for good reason. Where similarly expressive works such as Inside and Shelter are so commanding in their style that the player can only act in accordance with their logic, Firewatch holds back for an openness that makes it feel conventionally navigable. Its colour palettes draw on the jarring experiments of Proteus but its forms and textures are staunchly mimetic, and its pastel finish draws it back into stylisation compared to contemporary The Witness. This last point is critical, as the diffused colours and light effects make the game feel like an echo; like it's happening in past tense. Whatever narrative reason frames the game, there is a wistful quality to Firewatch that brings with it a knowing melancholy that this is all a fabricated memory. Even when outside influences threaten this rose-tinted utopia, when the developers employ cinematic ellipsis to have the world of Firewatch step down in favour of character-centric drama, the player feels it calling back through time. The parallel here to Henry is obvious, as he clearly needs to get back to the responsibilities of his life outside of Firewatch, but as the mysteries of the game grow more pronounced and even dictate our engagement in the dream-environment, the player's affective link to it is broken in favour of someone else's enacted drama. Prince Avalanche, another work in the wake of the Yellowstone fires of 1988, better handled this temporal unease, allowing the viewer to wander around Alvin and Lance's narrative instead of being chained to it. The story in Firewatch is good in the sense that it's well paced and often frightening, but a stronger work would have been made if it had been pushed into the background, allowing us to become one with the environment, and with loss itself.
There is the sense that Campo Santo are well aware of this, and opt for a balance between the much derided 'walking simulator' and a more obvious narrative compulsion to satisfy all potential parties. Rather than feeling lost, we come to watch someone else being lost, and the most compelling embodiment of isolation (the environment) becomes the stage for dialogue-driven storytelling about precisely this. I'd opt for an inverse balance of narratological and ludic components (in order to enhance the emotional significance of both), but can't begrudge how well the developer goes in the opposite direction. The dialogue is perfect, the performances uniformly tender when tender counts and guarded when it doesn't, the map circular enough for linear storytelling. The story is a con, the conclusion invariably a betrayal, but where the game's scripted 'moments' and role-plays subside are the small instances of individual panic and satisfaction that the player takes with them into the day, the week, the month. I can't wait to see what Campo Santo will do without feeling the need to compromise.
I really liked the concept and where the plot was going. And then the game kinda just... ended. Doesn't help that it ran quite poorly on my machine either.
still one of my favorite walking sims. lots of mystery, paranoia, impeccable vibes, atmosphere, and intriguing characters.
i always considered firewatch to be commentary on how expectations can make us feel so empty. sometimes the smaller things are the things that shatter us.
see you around, D
i always considered firewatch to be commentary on how expectations can make us feel so empty. sometimes the smaller things are the things that shatter us.
see you around, D
100% completion second log. Still very charming to me, and it nice experience. I am glad that going for the final last achievements I missed got me to use the free-roam mode, way better without the story and being interrupted by whatever her name was.
As I get older and finish more games from my backlog, more and more I appreciate a tidy handful of hours telling a streamlined story. It feels great to feasibly finish a game in one sitting and have a whole experience, and Firewatch provides exactly that. While you do have player choice that ultimately doesn't change the story, I like how the choices color your emotional experience with the main character without interfering with the A-plot. Having all of the interactivity of the game be completely diegetic was a fantastic design choice that helps you feel immersed in the world at all times. Pulling a map out in front of you and unfolding it while listening to the conversation on your walkie feels like you're really out there.
great atmospheric game and the conversations with delilah are awesome, but the whole mistery thing going on is not very good, specially at the end.
This review contains spoilers
El final con musiquita como diciendo mira que recuerdos tan bonitos mira tus fotos de la polaroid y sale el cadaver de un niño
This review contains spoilers
Nicely paced with good vibes, people harp on the suddenness of the ending and the lack of closure - but I think that might be the point; thus I don't factor it in.
As a result of the above, there's not a great deal of consequences to the choices you make other than defining why you are this character you're playing - which in a sense is good enough.
The art style, pacing, chemistry of the main characters and the intrigue of the plot keep this going, but depending on your liking of the ending and how you feel about the choice that are occassionally made for you - you may find this a more shallow narrative adventure.
As a result of the above, there's not a great deal of consequences to the choices you make other than defining why you are this character you're playing - which in a sense is good enough.
The art style, pacing, chemistry of the main characters and the intrigue of the plot keep this going, but depending on your liking of the ending and how you feel about the choice that are occassionally made for you - you may find this a more shallow narrative adventure.
🎮 Platform: Xbox
⌚ Time to finish - 3.5h (100% completion)
🏆Trophy completion - 100% - There are a few missable trophies. There is NO CHAPTER SELECT! Lame... so please use a guide. Trophies are easy, they add a little to the game. So overall I say get it.
🌄Graphics – I maybe in the minority as I see reviews with GOREGOUS graphics. I found them to be bland and unappealing. The low pixel models with some strange shadowing overlaid was weird. It was almost a mix of a low res 3d game, with the Death's door style of shading and look. But somewhere in between. I didn't like it. BTW I love how death's door looks.
🌦 Atmosphere/Music – This is the best part of the game. You can get lost in the forest listening to the sound track. Its fitting to set the mood, and often put me in a reflective mood as i was walking through the forest chatting with Delilah.
📚 Main Story / Characters – This game is interesting as you never really see anyone. You only hear their voices. You begin the game wondering what's going to happen between the 2 main characters, but as you go through the game I found them less and less interesting. They focus on the world around them and less and less about exploring each others state of mind. They hint and dance around their relationship, so much that after a few times of it, I realized the story was never going to go where I want to it to.
This was likely a deliberate choice by the game desingers but just because its different doesn't make it enjoyable. Do we eat ice cream and find out they left the sugar and say wow.. they suprised me. It has no sugar... this is the best ice cream ever!
I have a similar feeling here... stories need to have an emotional investment and stopping short of it fully exploring it leaves a lot to be desired.
🤺 Combat – None
🧭 Side Activities / Exploration – I would sometimes walk around just to listen to the music, but after a bit the exploration is not rewarding. Same trees and terrain.... and just going to random corners doesn't yield anything interesting. All the interesting places you visit are part of the main story. However..... its VERY easy to get lost in this game. So don't go out of your way to explore, going for objective to objective, you will get lost.
🚗 Movement/Physics – Fine. However this is one of those game that uses unnecessary camera swings. For example, when you hop down, do you really need to look so far down... that your face is almost going to kiss your crotch and then swing back up!? I hate when games do this....
📣 Voice acting – Great! Delilah has a very fitting smooth voice.
🥇 Best thing about the game - None
👎 Worst thing about the game - Easy to get lost
💡Final Thoughts:
I can see why people love this game. However, I needed more connection, character development between the main characters to reach where people are reaching with this game. They tease it but also fill the game with random things that distract from it. I see what they are going for, but it did not have that impact on me. Maybe i just need a punch in your face story like last of us. I did not mind the actual ending (i expected it)... HOWEVER, they squandered a HUGE opportunity in the final location you visit to bring some emotional depth to this story and have more character development.
Overall I was left with a huge void and wanting more after finishing this game.
⌚ Time to finish - 3.5h (100% completion)
🏆Trophy completion - 100% - There are a few missable trophies. There is NO CHAPTER SELECT! Lame... so please use a guide. Trophies are easy, they add a little to the game. So overall I say get it.
🌄Graphics – I maybe in the minority as I see reviews with GOREGOUS graphics. I found them to be bland and unappealing. The low pixel models with some strange shadowing overlaid was weird. It was almost a mix of a low res 3d game, with the Death's door style of shading and look. But somewhere in between. I didn't like it. BTW I love how death's door looks.
🌦 Atmosphere/Music – This is the best part of the game. You can get lost in the forest listening to the sound track. Its fitting to set the mood, and often put me in a reflective mood as i was walking through the forest chatting with Delilah.
📚 Main Story / Characters – This game is interesting as you never really see anyone. You only hear their voices. You begin the game wondering what's going to happen between the 2 main characters, but as you go through the game I found them less and less interesting. They focus on the world around them and less and less about exploring each others state of mind. They hint and dance around their relationship, so much that after a few times of it, I realized the story was never going to go where I want to it to.
This was likely a deliberate choice by the game desingers but just because its different doesn't make it enjoyable. Do we eat ice cream and find out they left the sugar and say wow.. they suprised me. It has no sugar... this is the best ice cream ever!
I have a similar feeling here... stories need to have an emotional investment and stopping short of it fully exploring it leaves a lot to be desired.
🤺 Combat – None
🧭 Side Activities / Exploration – I would sometimes walk around just to listen to the music, but after a bit the exploration is not rewarding. Same trees and terrain.... and just going to random corners doesn't yield anything interesting. All the interesting places you visit are part of the main story. However..... its VERY easy to get lost in this game. So don't go out of your way to explore, going for objective to objective, you will get lost.
🚗 Movement/Physics – Fine. However this is one of those game that uses unnecessary camera swings. For example, when you hop down, do you really need to look so far down... that your face is almost going to kiss your crotch and then swing back up!? I hate when games do this....
📣 Voice acting – Great! Delilah has a very fitting smooth voice.
🥇 Best thing about the game - None
👎 Worst thing about the game - Easy to get lost
💡Final Thoughts:
I can see why people love this game. However, I needed more connection, character development between the main characters to reach where people are reaching with this game. They tease it but also fill the game with random things that distract from it. I see what they are going for, but it did not have that impact on me. Maybe i just need a punch in your face story like last of us. I did not mind the actual ending (i expected it)... HOWEVER, they squandered a HUGE opportunity in the final location you visit to bring some emotional depth to this story and have more character development.
Overall I was left with a huge void and wanting more after finishing this game.
I wish the game had moved a little slower and been a little longer. It was such a pleasure to walk around the park, find neat things, and, most of all, have conversations through the walkie-talkie, that I wish there was more opportunity to bask in those moments, rather than time advancing and being overwhelmed by the plot.
Extraordinarily frustrating. For much more good than bad in the end, but I really did need to talk with others about it, it was like "i'm going to destroy a pillow" with the feelings I had left in the brain stew.
It's in one way, fucking ridiculously well written. Delilah is talk on "not real" escaped to relationships as well as an explicit message on confronting memories. Henry is a "failure" and "cowardly" who cannot confront the pains around him ultimately thrust to realize he has to go back home and come to terms with life. Other characters, their relationships and stories whether surrounding Henry or being left behind to be found by Henry are also failures, painful retellings of this conflict with specters these people saw as real. It's all set to this sunset painting, this growing sense of longing shared by all involved for a sunrise we will never see come up for us on screen. We're denied even the beautiful, serene sunset as it goes up in smoke.
But on the other hand, there's actually too much catharsis. Too much foreground, really. What I loved most of what I was playing was how these background elements intersected, how I was left to feel that pain and wince in real time rather than when the reins were clearly torn from me. I don't mean to say that the cuts were bad, in fact they were perfect, it's more how this structure intrinsically needed to throw the perspective in someone else's agency for us to look at and realize we can't become the sludge trapped in the park. A lot of potential really is left to the cutting floor by this move, a timeline where we never feel a bit of catharsis by a mystery left unsolved, or one where we watch ourselves fail again by Henry's own hands, etc etc. This is what's extremely thorny to talk about though. Like can you imagine just walking up to a work, and going, "you know this works really well but it'd be better if you actually just flipped the whole structure to lean the other way thank you". Like who asked? It works for me not for you?
But the result, at least on my end, is that I ended up decoupled from Henry and Delilah's story for a good portion because the disconnect from the first hour and a half to the latter hour and a half set me ablaze. The dialogue and delivery was still incredible but my emotional investment was missing, at least mostly. Mercifully the background actually never left, as the finale to Dave left me moving away from my desk and pushing myself into a pillow for a good minute.
It's ironic really. I think the idea that this "huehue should've been a movie" has things so backwards (and also it's just really fucking bankrupt, like i'm not taking you seriously). There's so much here to add to, via additional player agency, without even taking away from the narrative focused on. I ended up exploring the whole map completely unintentionally, on the way and a couple times off the beaten path just to finish what qualifies as "the side story". I ended up fishing for a while too. In the end the release I'm looking for needed more 'play,' albeit, I'm no editor. This story still has volumes to speak for what it is, like I ended up discovering not through my own hands how Henry's parasocial relationship has an even bigger relevance as we are today.
I do hope there's a dawn for Campo Santo somewhere down the line. They made something truly special here.
It's in one way, fucking ridiculously well written. Delilah is talk on "not real" escaped to relationships as well as an explicit message on confronting memories. Henry is a "failure" and "cowardly" who cannot confront the pains around him ultimately thrust to realize he has to go back home and come to terms with life. Other characters, their relationships and stories whether surrounding Henry or being left behind to be found by Henry are also failures, painful retellings of this conflict with specters these people saw as real. It's all set to this sunset painting, this growing sense of longing shared by all involved for a sunrise we will never see come up for us on screen. We're denied even the beautiful, serene sunset as it goes up in smoke.
But on the other hand, there's actually too much catharsis. Too much foreground, really. What I loved most of what I was playing was how these background elements intersected, how I was left to feel that pain and wince in real time rather than when the reins were clearly torn from me. I don't mean to say that the cuts were bad, in fact they were perfect, it's more how this structure intrinsically needed to throw the perspective in someone else's agency for us to look at and realize we can't become the sludge trapped in the park. A lot of potential really is left to the cutting floor by this move, a timeline where we never feel a bit of catharsis by a mystery left unsolved, or one where we watch ourselves fail again by Henry's own hands, etc etc. This is what's extremely thorny to talk about though. Like can you imagine just walking up to a work, and going, "you know this works really well but it'd be better if you actually just flipped the whole structure to lean the other way thank you". Like who asked? It works for me not for you?
But the result, at least on my end, is that I ended up decoupled from Henry and Delilah's story for a good portion because the disconnect from the first hour and a half to the latter hour and a half set me ablaze. The dialogue and delivery was still incredible but my emotional investment was missing, at least mostly. Mercifully the background actually never left, as the finale to Dave left me moving away from my desk and pushing myself into a pillow for a good minute.
It's ironic really. I think the idea that this "huehue should've been a movie" has things so backwards (and also it's just really fucking bankrupt, like i'm not taking you seriously). There's so much here to add to, via additional player agency, without even taking away from the narrative focused on. I ended up exploring the whole map completely unintentionally, on the way and a couple times off the beaten path just to finish what qualifies as "the side story". I ended up fishing for a while too. In the end the release I'm looking for needed more 'play,' albeit, I'm no editor. This story still has volumes to speak for what it is, like I ended up discovering not through my own hands how Henry's parasocial relationship has an even bigger relevance as we are today.
I do hope there's a dawn for Campo Santo somewhere down the line. They made something truly special here.
Builds a meta-relationship with the main character through emotional connection in such an effective way. Specially because to a certain extent, Henry and the player are in the same shoes, trying to escape reality. And when the ending comes, it hits the same way for both (even the players with negative views on it agree without realizing). Crushing game, but amazing at what it sets out to do. Loved it.
(Disappointing how the game sets the mood from the very start with a grounded heartbreaking story, but people still expect mysteries, conspiracy theories, aliens... but whatever, I'm just being cranky)
(Disappointing how the game sets the mood from the very start with a grounded heartbreaking story, but people still expect mysteries, conspiracy theories, aliens... but whatever, I'm just being cranky)
Firewatch will make you feel empty.
After everything that has happened, the ending, the people, you would be sat there feeling confused and empty. Perhaps this is the point of the game. Maybe despite the lackluster walking simulator you might have faced, everything was supposed to be bleak and depressing. I think this is what makes it special. FANTASTIC writing (can't go into detail cause spoilers), amazing scenery and great characters that we don't even see throughout. The game's not brilliant, but it's a brilliant mess. Looking forward to Campo Santo's next title.
After everything that has happened, the ending, the people, you would be sat there feeling confused and empty. Perhaps this is the point of the game. Maybe despite the lackluster walking simulator you might have faced, everything was supposed to be bleak and depressing. I think this is what makes it special. FANTASTIC writing (can't go into detail cause spoilers), amazing scenery and great characters that we don't even see throughout. The game's not brilliant, but it's a brilliant mess. Looking forward to Campo Santo's next title.
A wonderful game that managed to put me in a summer mood, despite the fact that it’s March outside. Wonderful views, good, balletic and exciting musical acting, and of course a chic atmosphere. I think this game is about two things at once. Firstly, about one thing, about all the delights and problems of such a life. Secondly, about how we like to deal with our problems. Probably everyone can find something familiar and dear to themselves in this simple plot. Personally, I found it.
beautiful game. like, I could walk around shoshone national forest for hours just taking it all in. compelling use of an unreliable companion character and one of my favorite intros to a game ever.
Genuinely can't think of a flaw. Perfect execution of a really great story told almost entirely through grounded and engaging dialogue.
Even as someone who, until recently, was never really interested in walking simulators and their narrative-centric design, I was always well aware of the impact of Firewatch on its genre and the medium as a whole. Would it hold up to the high praise following it?
Pros:
+ gorgeous setting with incredible vistas
+ a smart variation on the tropes of the genre
+ incredible, true-to-life voice acting
+ dialogue system always feel natural and organic...
+ ...and reacts to player actions in surprising ways
+ map and compass system are well-implemented
+ the easter eggs and references to other games are sweet
+ the narrative takes wide, daring swings...
Cons:
- ...but misses more often than not
- technical performance is lacking and buggy, incl. a soft lock
- running has to be re-toggled every few seconds
- object interaction is pointless
- time limits for chosing answers are too short
- the initial multiple choice chapter seems perfunctory
- central metaphors of the narrative are heavy-handed
- story reveals arrive too late and seem arbitrary
- the ending feels abridged and unsure of itself
Playtime: Roughly 4,5 hours.
Blagic Moment: Finding something tragic in the last third and realizing that the main storyline connecting the two main characters is actually a Trojan Horse.
Verdict:
Regrettably, after finally playing through the game, I cannot help but feel like this is wonderfully presented but ultimately hollow narrative that never really knows what kind of story it wants to tell, directionlessly meandering between different character arcs without ever completing them. Neither Henry nor Delilah ever really change throughout their journeys, and the interactivity and choices the game offers in the beginning never amount to a coherent whole, including a severe lack of player-specific endings.
I was highly disappointed in Firewatch, especially coming off Gone Home and its more simplistic but much more effective approach to telling its heartfelt story. Therefore, I cannot recommend it and did not much enjoy it, but I am aware that I am pretty alone with this opinion.
Pros:
+ gorgeous setting with incredible vistas
+ a smart variation on the tropes of the genre
+ incredible, true-to-life voice acting
+ dialogue system always feel natural and organic...
+ ...and reacts to player actions in surprising ways
+ map and compass system are well-implemented
+ the easter eggs and references to other games are sweet
+ the narrative takes wide, daring swings...
Cons:
- ...but misses more often than not
- technical performance is lacking and buggy, incl. a soft lock
- running has to be re-toggled every few seconds
- object interaction is pointless
- time limits for chosing answers are too short
- the initial multiple choice chapter seems perfunctory
- central metaphors of the narrative are heavy-handed
- story reveals arrive too late and seem arbitrary
- the ending feels abridged and unsure of itself
Playtime: Roughly 4,5 hours.
Blagic Moment: Finding something tragic in the last third and realizing that the main storyline connecting the two main characters is actually a Trojan Horse.
Verdict:
Regrettably, after finally playing through the game, I cannot help but feel like this is wonderfully presented but ultimately hollow narrative that never really knows what kind of story it wants to tell, directionlessly meandering between different character arcs without ever completing them. Neither Henry nor Delilah ever really change throughout their journeys, and the interactivity and choices the game offers in the beginning never amount to a coherent whole, including a severe lack of player-specific endings.
I was highly disappointed in Firewatch, especially coming off Gone Home and its more simplistic but much more effective approach to telling its heartfelt story. Therefore, I cannot recommend it and did not much enjoy it, but I am aware that I am pretty alone with this opinion.
Men with demons will literally become hermits before seeking therapy. A lookout in the middle of a lush, breathtaking location is where you'll find Henry, a man like any others only with drunk harassment rizz... nah I'm harsh with him he pulled his wife earnestly. Henry's cool but the pull of the game is Delilah and seeing them connect throughout the summer. Not the right move to switch to a "look thats deep" direction in my opinion, the first days were a bit of levity and we skipped over all the mundanity to have some overarching dark plot which feels misdirecting. Cave really was delightfully claustrophobic though hats off to the cook 👏
I ate a rotten granola bar and suffered no consequence. What kind of man eats a rotten granola bar and suffers no consequence?
I ate a rotten granola bar and suffered no consequence. What kind of man eats a rotten granola bar and suffers no consequence?
Holy FUCK this game looks so good.
I think sunsets might be my favorite thing ever
I think sunsets might be my favorite thing ever
This review contains spoilers
Spoilers only discussed at the very bottom
Firewatch is a graphic adventure developed by Campo Santo in 2016. I’d call it a rare case of a walking sim penetrating the zeitgeist, but seeing as how a number of titles have done just that (good & bad), it seems they’ve outgrown the constraints of a formerly niche genre. Still, even within those parameters, Firewatch was one of the more notable releases given the large amount of press it garnered; I distinctly remember all the major news outlets and indie rags raving over this one as though it were the Second Coming.
While there’s no such thing as bad publicity, such acclamation never bodes well for a smaller-scale product as it inherently sets expectations too high- expectations that should never be handed to a walking sim of all things. It means certain newcomers will enter the game anticipating great highs, only to foam at the mouth when their unrealistic standards aren’t met- compare the Metacritic audience scores of Gone Home & Everybody’s Gone to the Rapture with The Stanley Parable (a game that didn’t get much pre-release hype) and you’ll see what I mean.
Thankfully, Firewatch wasn’t hit as hard by review trolls, however I’d still advise going into it with tempered hopes due to an inconsistent narrative. The premise is you’re controlling a, surprise surprise, fire watcher named Henry at Shoshone National Forest in the 1980s. Ole Hank arrived to escape some demons from his past, and in the process has inadvertently sparked a kinship with fellow lookout Delilah. Without delving into spoilers, things start off fine before the two begin experiencing weird events at the park; events that appear intrinsically tied to them.
We’ve seen this “Stranger in a Strange Land” set-up replicated in multiple pieces of media, and the reason it works is because it’s perfectly fine-tuned to the needs of any mystery: both the player and protagonist are in the same boat as far as being fish-out-of-water, and the unknown factor pervades every element of the world. Firewatch initially does a fantastic job molding this template for its own story, but where it goes wrong (IMO) is in its failure to sufficiently connect those introductory moments with the second half of the game.+ In some ways, it feels like you’re playing two different tales as everything about the first part is only tangentially related to its narratological successor, and it shouldn’t come as a shock when I say the latter isn’t as good. It abandons the grounded framework in favor of more outlandish and conspiratorial traits, which yeah, technically make sense given the 80s backdrop, but which consequently haven’t aged as well due to that generational restriction. For all the criticism the ending has received, I actually did appreciate it harkening back to the original atmosphere, though keep in mind it has plenty of issues in its own right(++), one of those being its reliance on optional dialogue. See, you spend most, if not all of, Firewatch strolling from Point A to Point B, and to fill in the empty space, the developers threw in a bunch of conversations you may instigate via telling Delilah about an observation of something in your surroundings. The problem is a good chunk of these are actually necessary to understanding the endgame revelations, meaning if you missed out on any of them while playing, you’ll probably be less-than-satisfied by aspects of the finale (yes, this did happen to me, despite my extensive reconnaissance for all things examinable).
Besides the story, the biggest appeal of Firewatch was clearly intended to be the characters, and on that front we once again get mixed results. Henry is a rather stoic individual whose personality is primarily shaped via a good old-fashioned dialogue wheel. It’s a bit of an unfortunate decision as, while I understand why the writers did it, it ultimately comes across as arbitrary due to the lack of any branching effects -- the yarn unwinds exactly as it was planned, and though you’ll obviously hear different lines from Delilah, it doesn’t culminate in multiple endings, nor substantially differentiate the plot to warrant extra playthroughs. And because there are no tangible corollaries, the result is Henry turning into a rather forgettable demi-avatar in spite of his interesting backstory.
Delilah, on the other hand, fares a lot better due to being an unmodifiable character, and while it’s true you can somewhat affect her personality through the timing/type of rejoinder (or lack thereof), she’s not going to deviate from her core personality, that being a middle-aged smart@ss with just the right balance of snark and drama. Due to the slice-of-life nature of the script, I wouldn’t say she lights up the game the way other charismatic females have done before, but she definitely goes a long way towards counterbalancing Henry’s phlegmaticness.
Sadly, the biggest problem with the two’s relationship is the absence of strong chemistry between the voice actors. I know this is a highly-subjective complaint, but I personally never felt a genuine bond connecting the pair the way I did with say Simon & Catherine in Soma or even Cole & Moya in InFAMOUS. The performers (Rich Sommer/Cissy Jones) do a good job with what they’re given, but it seems each was cast based on their individual audition tapes over shared screen test results. And considering Firewatch’s heavy reliance on their banter, this deficiency is more detrimental to the experience than probably envisioned.
There are a few other miscellaneous voices you’ll hear over your journey, and though hit-or-miss, none stay long enough to leave a lasting impression. On the flipside, the score by Chris Remo is quietly memorable, usually taking a backseat to the general exploration before crescendoing during a dramatic story beat (a testament to the adept music editing). As you can imagine from the cover art, Firewatch indulges in those timeless melodies typically associated with campfire gatherings, the bulk of them conveyed via a good old-fashioned acoustic guitar (or what sounds like one anyway). That’s not to say Remo exclusively abides by it (I recall numerous percussion-focused tracks, as well as one synth-heavy composition) but they are definitely in the minority and not quite as potent as their stringed predecessors.
Regarding the SFX it’s surprisingly deep, with distinguishable clangs contingent on the item and impact surfaces’ material: cans, bottles, books, and balls vary not only amidst each other, but also among their own kin depending on where you toss them (grass versus a bed versus hardwood etc….). I didn’t detect divergences based on velocity; however, it’s not like it matters because you’ll almost never have to engage with this physics system, making the set-up admirable yet moot (note, I say this meaning the game should’ve incorporated it more, not that it should’ve been abandoned by the engineers).
Where Firewatch’s sound stumbles is in its ambience, or rather absence of ambience. Despite being set in a verdure ecosystem, you’ll hardly run into any animals, and when you do hear calls tied to certain species (birds, bugs) 9 times out of 10 they lack a distinguishable source. Even customary dins like forestal breezes and generator hums feel more stocky than manually-conceived, and it’s consequently a bit of a shame that the game has to fallback on its OST in lieu of an adequate soundscape.
But it’s the visuals you’ve no doubt heard the most raving about, and on that front there’s definitely a lot of truth. Those of you who have read my past reviews will know I’ve never been big on Unity games, and while Firewatch still has a few of the engine’s rougher elements (overly-sleek rocks, clipping, uncanny appendages) this is definitely a case where virtuosity outweighs defects. Campo Santo has brought to life that romanticized outdoorsy aesthetic I’m sure every kid dreamed of at some point in their life; you know, that fantasy of running through an orchard decked in springtime hues as the sparrows chirped on yonder. Much like Boggly Woods or the Villa Auditore, this is one of those serene video game locations you want to spend time in for the sake of inner peace, and it’s honestly not surprising why the devs threw in a free roam mode. The graphic design may seem repetitive at first, but look closer and you’ll notice a lot of underrated details accompanying Shoshone, chief among these being the sheer amount of tree genera. Like Dear Esther did with rocks, Firewatch has assembled a smorgasbord of perennial taxonomies to behold, a chart in your post identifying their specific classification should you wish to know it. Couple it all with some fantastic shadowcasting conditional on their soft sways and cloud overseers and you can imagine where the game’s immersion factor comes from. Considering how often trees get copy/pasted in video games, even in ones focused on exploration, this was a pleasant surprise and one I hope players take note of.
Unfortunately, exploration is significantly infringed upon by the map design, which is deliberately restrictive for no discernible reason outside of elongating the story. You’re forced to stick to set paths as every other avenue is deliberately blocked-off, and while a number of these are reasonable (unscalable mountains), it literally makes no sense why Henry can’t bypass others ala stomping on piles of bramble or ascending a small outcrop. It’s not an aggravating issue by any means, however the obviousness of the scheme coupled with large backtracking renders it a bit displeasing.
Gameplay, there isn’t much to say- per their namesake, walking sims are about walking, and you’re going to be doing just that…A LOT. You can pull out a map, compass, and of course radio, rotate certain objects, and dash to your heart’s content without worrying about a stamina meter. On the flip side, all other actions (climbing/descending/leaping) are purely automated and consequently come across as a little outdated by eighth generation standards. Still, I’ll give immense credit to Campo Santo for at least programming two different animations depending on whether you’re running or trudging.
In the end, though, it’s clear your appreciation of Firewatch will rest on its story over anything else, and contrary to what critics say, there’s a greater divagation of opinions towards that component. My spoiler-free tl;dr is you’ll enjoy the journey, but more than likely forget about it the second you move onto your next game. And for some, that’ll be sufficient.
NOTES
-For a game about fire safety, did no one else find it bizarre how Henry keeps two flammable gas tanks right next to his tower???
-I can’t be the only person who thinks Henry sounds like a young Ron Desantis?
-There’s a notes menu completely devoid of anything, making me wonder if it was an abandoned feature accidentally left in the game.
-You get a camera to photograph random stuff, and while you’re occasionally advised to do so by Delilah, it’s never mandated and has no impact on the story (making me wonder if it was another abandoned feature as well). You’re able to upload the photos you take with it on a separate menu in the title screen, but when I tried to do so it literally caused the game to freeze up on me twice. Combine that with the fact that the camera only holds 20 shots and you’re better off using the screen capture function (for PC gamers anyway).
-The rotate function is severely underrated in terms of its animations- I loved being able to slowly peel/unpeel an object from left-to-right/vice-versa.
-You’ll find a lot of airplane books written by the same author. Makes me wonder if they had some concept involving him that never came to fruition.
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+Firewatch initially spends an inordinate amount of time on Henry reckoning with his dementia-ridden wife and her hostile parents before completely forgetting about it until the end. It’s not that it doesn’t make sense for Henry to stop prioritizing that aspect of his life in light of more pressing matters, but a more furnished script would’ve found a way to connect those introductory psychological anguishes with the later stresses/toils Henry deals with. As it stands, it comes across as a half-baked way of giving him depth that otherwise wouldn’t have existed.
The larger issue, however, is how Firewatch sets-up a genuinely better premise before succumbing elsewhere. One of the introductory chapters sees Henry confront two teenage arsonists who later mysteriously vanish, and the idea of Henry and Delilah having to contend with a serial killer or other nefarious actor playing to their sense of isolation could’ve made for a tense ride! As it stands, the replacement is an overcomplicated scheme by a former scout’s father to derail the two from discovering the body of his son (whose cause of death is up for interpretation) hidden in a cave. Instead of doing the smart thing like, oh I don’t know, setting fire to the area or causing a permanent cave-in, he opts to engage in odd tactics like making Delilah and Henry believe they’re being spied on by the government. It honestly feels like the writers didn’t know how to characterize this antagonist (Ned Goodwin), leading to many holes in his personality: for instance, if his son’s death was truly an accident, why wouldn’t he be upfront about the situation from the get-go? On the opposite end, if he didn’t want anyone to find out, why not dispose of the body through one of the aforementioned means? Heck, why create a tape confessing everything to Henry? I know they claim he’s suffering from some mental illness, but that honestly seems lazy and disrespectful to actual sufferers.
As a result of these endeavors, Henry and Delilah also come off as really dumb. Like, if you think about it, it’s actually silly that they would believe the government would randomly conduct a psyop experiment on two federal employees integral to preserving a national forest (you know, a year after a huge fire ravaged Yellowstone, which the game explicitly references).
++I pretty much discussed the ending above, with Henry finding a recording from Goodwin detailing what transpired. I know there are plenty of fans who wanted something deeper or more sensational, but I truly didn’t mind a grounded resolution. As I explained, I found the whole conspiratorial thought process absurd from the get-go, so the concept that it was actually the machinations of a disturbed individual was a welcome return-to-form (even if late). No, my personal qualms (besides those outlined earlier) concerned the decision to not have Henry and Delilah meet in-person. I’m not against the concept since you never saw anyone before (clearly anyway), so it thematically would’ve been concise; however, the lame-@ss reasoning they give is amateurish, with Delilah acting out-of-character via opting to hightail out of Shoshone before Henry gets there for no logical reason. I’m sure the game’s apologists will come out with some justification, but no amount of reasoning can cover up it being utterly stupid and purely done for the sake of Campo Santo not having to craft & animate a new character model.
That said, I will give the devs props for maintaining a level of tension and unease during Henry’s trek to the evac site- when you’re capable of such a feat, it indicates real talent.
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Firewatch is a graphic adventure developed by Campo Santo in 2016. I’d call it a rare case of a walking sim penetrating the zeitgeist, but seeing as how a number of titles have done just that (good & bad), it seems they’ve outgrown the constraints of a formerly niche genre. Still, even within those parameters, Firewatch was one of the more notable releases given the large amount of press it garnered; I distinctly remember all the major news outlets and indie rags raving over this one as though it were the Second Coming.
While there’s no such thing as bad publicity, such acclamation never bodes well for a smaller-scale product as it inherently sets expectations too high- expectations that should never be handed to a walking sim of all things. It means certain newcomers will enter the game anticipating great highs, only to foam at the mouth when their unrealistic standards aren’t met- compare the Metacritic audience scores of Gone Home & Everybody’s Gone to the Rapture with The Stanley Parable (a game that didn’t get much pre-release hype) and you’ll see what I mean.
Thankfully, Firewatch wasn’t hit as hard by review trolls, however I’d still advise going into it with tempered hopes due to an inconsistent narrative. The premise is you’re controlling a, surprise surprise, fire watcher named Henry at Shoshone National Forest in the 1980s. Ole Hank arrived to escape some demons from his past, and in the process has inadvertently sparked a kinship with fellow lookout Delilah. Without delving into spoilers, things start off fine before the two begin experiencing weird events at the park; events that appear intrinsically tied to them.
We’ve seen this “Stranger in a Strange Land” set-up replicated in multiple pieces of media, and the reason it works is because it’s perfectly fine-tuned to the needs of any mystery: both the player and protagonist are in the same boat as far as being fish-out-of-water, and the unknown factor pervades every element of the world. Firewatch initially does a fantastic job molding this template for its own story, but where it goes wrong (IMO) is in its failure to sufficiently connect those introductory moments with the second half of the game.+ In some ways, it feels like you’re playing two different tales as everything about the first part is only tangentially related to its narratological successor, and it shouldn’t come as a shock when I say the latter isn’t as good. It abandons the grounded framework in favor of more outlandish and conspiratorial traits, which yeah, technically make sense given the 80s backdrop, but which consequently haven’t aged as well due to that generational restriction. For all the criticism the ending has received, I actually did appreciate it harkening back to the original atmosphere, though keep in mind it has plenty of issues in its own right(++), one of those being its reliance on optional dialogue. See, you spend most, if not all of, Firewatch strolling from Point A to Point B, and to fill in the empty space, the developers threw in a bunch of conversations you may instigate via telling Delilah about an observation of something in your surroundings. The problem is a good chunk of these are actually necessary to understanding the endgame revelations, meaning if you missed out on any of them while playing, you’ll probably be less-than-satisfied by aspects of the finale (yes, this did happen to me, despite my extensive reconnaissance for all things examinable).
Besides the story, the biggest appeal of Firewatch was clearly intended to be the characters, and on that front we once again get mixed results. Henry is a rather stoic individual whose personality is primarily shaped via a good old-fashioned dialogue wheel. It’s a bit of an unfortunate decision as, while I understand why the writers did it, it ultimately comes across as arbitrary due to the lack of any branching effects -- the yarn unwinds exactly as it was planned, and though you’ll obviously hear different lines from Delilah, it doesn’t culminate in multiple endings, nor substantially differentiate the plot to warrant extra playthroughs. And because there are no tangible corollaries, the result is Henry turning into a rather forgettable demi-avatar in spite of his interesting backstory.
Delilah, on the other hand, fares a lot better due to being an unmodifiable character, and while it’s true you can somewhat affect her personality through the timing/type of rejoinder (or lack thereof), she’s not going to deviate from her core personality, that being a middle-aged smart@ss with just the right balance of snark and drama. Due to the slice-of-life nature of the script, I wouldn’t say she lights up the game the way other charismatic females have done before, but she definitely goes a long way towards counterbalancing Henry’s phlegmaticness.
Sadly, the biggest problem with the two’s relationship is the absence of strong chemistry between the voice actors. I know this is a highly-subjective complaint, but I personally never felt a genuine bond connecting the pair the way I did with say Simon & Catherine in Soma or even Cole & Moya in InFAMOUS. The performers (Rich Sommer/Cissy Jones) do a good job with what they’re given, but it seems each was cast based on their individual audition tapes over shared screen test results. And considering Firewatch’s heavy reliance on their banter, this deficiency is more detrimental to the experience than probably envisioned.
There are a few other miscellaneous voices you’ll hear over your journey, and though hit-or-miss, none stay long enough to leave a lasting impression. On the flipside, the score by Chris Remo is quietly memorable, usually taking a backseat to the general exploration before crescendoing during a dramatic story beat (a testament to the adept music editing). As you can imagine from the cover art, Firewatch indulges in those timeless melodies typically associated with campfire gatherings, the bulk of them conveyed via a good old-fashioned acoustic guitar (or what sounds like one anyway). That’s not to say Remo exclusively abides by it (I recall numerous percussion-focused tracks, as well as one synth-heavy composition) but they are definitely in the minority and not quite as potent as their stringed predecessors.
Regarding the SFX it’s surprisingly deep, with distinguishable clangs contingent on the item and impact surfaces’ material: cans, bottles, books, and balls vary not only amidst each other, but also among their own kin depending on where you toss them (grass versus a bed versus hardwood etc….). I didn’t detect divergences based on velocity; however, it’s not like it matters because you’ll almost never have to engage with this physics system, making the set-up admirable yet moot (note, I say this meaning the game should’ve incorporated it more, not that it should’ve been abandoned by the engineers).
Where Firewatch’s sound stumbles is in its ambience, or rather absence of ambience. Despite being set in a verdure ecosystem, you’ll hardly run into any animals, and when you do hear calls tied to certain species (birds, bugs) 9 times out of 10 they lack a distinguishable source. Even customary dins like forestal breezes and generator hums feel more stocky than manually-conceived, and it’s consequently a bit of a shame that the game has to fallback on its OST in lieu of an adequate soundscape.
But it’s the visuals you’ve no doubt heard the most raving about, and on that front there’s definitely a lot of truth. Those of you who have read my past reviews will know I’ve never been big on Unity games, and while Firewatch still has a few of the engine’s rougher elements (overly-sleek rocks, clipping, uncanny appendages) this is definitely a case where virtuosity outweighs defects. Campo Santo has brought to life that romanticized outdoorsy aesthetic I’m sure every kid dreamed of at some point in their life; you know, that fantasy of running through an orchard decked in springtime hues as the sparrows chirped on yonder. Much like Boggly Woods or the Villa Auditore, this is one of those serene video game locations you want to spend time in for the sake of inner peace, and it’s honestly not surprising why the devs threw in a free roam mode. The graphic design may seem repetitive at first, but look closer and you’ll notice a lot of underrated details accompanying Shoshone, chief among these being the sheer amount of tree genera. Like Dear Esther did with rocks, Firewatch has assembled a smorgasbord of perennial taxonomies to behold, a chart in your post identifying their specific classification should you wish to know it. Couple it all with some fantastic shadowcasting conditional on their soft sways and cloud overseers and you can imagine where the game’s immersion factor comes from. Considering how often trees get copy/pasted in video games, even in ones focused on exploration, this was a pleasant surprise and one I hope players take note of.
Unfortunately, exploration is significantly infringed upon by the map design, which is deliberately restrictive for no discernible reason outside of elongating the story. You’re forced to stick to set paths as every other avenue is deliberately blocked-off, and while a number of these are reasonable (unscalable mountains), it literally makes no sense why Henry can’t bypass others ala stomping on piles of bramble or ascending a small outcrop. It’s not an aggravating issue by any means, however the obviousness of the scheme coupled with large backtracking renders it a bit displeasing.
Gameplay, there isn’t much to say- per their namesake, walking sims are about walking, and you’re going to be doing just that…A LOT. You can pull out a map, compass, and of course radio, rotate certain objects, and dash to your heart’s content without worrying about a stamina meter. On the flip side, all other actions (climbing/descending/leaping) are purely automated and consequently come across as a little outdated by eighth generation standards. Still, I’ll give immense credit to Campo Santo for at least programming two different animations depending on whether you’re running or trudging.
In the end, though, it’s clear your appreciation of Firewatch will rest on its story over anything else, and contrary to what critics say, there’s a greater divagation of opinions towards that component. My spoiler-free tl;dr is you’ll enjoy the journey, but more than likely forget about it the second you move onto your next game. And for some, that’ll be sufficient.
NOTES
-For a game about fire safety, did no one else find it bizarre how Henry keeps two flammable gas tanks right next to his tower???
-I can’t be the only person who thinks Henry sounds like a young Ron Desantis?
-There’s a notes menu completely devoid of anything, making me wonder if it was an abandoned feature accidentally left in the game.
-You get a camera to photograph random stuff, and while you’re occasionally advised to do so by Delilah, it’s never mandated and has no impact on the story (making me wonder if it was another abandoned feature as well). You’re able to upload the photos you take with it on a separate menu in the title screen, but when I tried to do so it literally caused the game to freeze up on me twice. Combine that with the fact that the camera only holds 20 shots and you’re better off using the screen capture function (for PC gamers anyway).
-The rotate function is severely underrated in terms of its animations- I loved being able to slowly peel/unpeel an object from left-to-right/vice-versa.
-You’ll find a lot of airplane books written by the same author. Makes me wonder if they had some concept involving him that never came to fruition.
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+Firewatch initially spends an inordinate amount of time on Henry reckoning with his dementia-ridden wife and her hostile parents before completely forgetting about it until the end. It’s not that it doesn’t make sense for Henry to stop prioritizing that aspect of his life in light of more pressing matters, but a more furnished script would’ve found a way to connect those introductory psychological anguishes with the later stresses/toils Henry deals with. As it stands, it comes across as a half-baked way of giving him depth that otherwise wouldn’t have existed.
The larger issue, however, is how Firewatch sets-up a genuinely better premise before succumbing elsewhere. One of the introductory chapters sees Henry confront two teenage arsonists who later mysteriously vanish, and the idea of Henry and Delilah having to contend with a serial killer or other nefarious actor playing to their sense of isolation could’ve made for a tense ride! As it stands, the replacement is an overcomplicated scheme by a former scout’s father to derail the two from discovering the body of his son (whose cause of death is up for interpretation) hidden in a cave. Instead of doing the smart thing like, oh I don’t know, setting fire to the area or causing a permanent cave-in, he opts to engage in odd tactics like making Delilah and Henry believe they’re being spied on by the government. It honestly feels like the writers didn’t know how to characterize this antagonist (Ned Goodwin), leading to many holes in his personality: for instance, if his son’s death was truly an accident, why wouldn’t he be upfront about the situation from the get-go? On the opposite end, if he didn’t want anyone to find out, why not dispose of the body through one of the aforementioned means? Heck, why create a tape confessing everything to Henry? I know they claim he’s suffering from some mental illness, but that honestly seems lazy and disrespectful to actual sufferers.
As a result of these endeavors, Henry and Delilah also come off as really dumb. Like, if you think about it, it’s actually silly that they would believe the government would randomly conduct a psyop experiment on two federal employees integral to preserving a national forest (you know, a year after a huge fire ravaged Yellowstone, which the game explicitly references).
++I pretty much discussed the ending above, with Henry finding a recording from Goodwin detailing what transpired. I know there are plenty of fans who wanted something deeper or more sensational, but I truly didn’t mind a grounded resolution. As I explained, I found the whole conspiratorial thought process absurd from the get-go, so the concept that it was actually the machinations of a disturbed individual was a welcome return-to-form (even if late). No, my personal qualms (besides those outlined earlier) concerned the decision to not have Henry and Delilah meet in-person. I’m not against the concept since you never saw anyone before (clearly anyway), so it thematically would’ve been concise; however, the lame-@ss reasoning they give is amateurish, with Delilah acting out-of-character via opting to hightail out of Shoshone before Henry gets there for no logical reason. I’m sure the game’s apologists will come out with some justification, but no amount of reasoning can cover up it being utterly stupid and purely done for the sake of Campo Santo not having to craft & animate a new character model.
That said, I will give the devs props for maintaining a level of tension and unease during Henry’s trek to the evac site- when you’re capable of such a feat, it indicates real talent.
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This review contains spoilers
Firewatch is a great departure from the warfare and violence that I’d been playing at the time of playing this game. Firewatch starts off with grief, and as a care worker, I just immediately felt a connection to Henry as I’d seen his case hundreds of times. As you start the game, you are in a serene and almost untouched beautiful forest. The game strips away everything apart from your own thoughts as a player and Delilah.
This was the best part for me. I liked that for most of the time, the game is just you building this friendship/relationship with this woman in the adjacent watch tower. I looked forward to talking to her. It was so organic.
The game is linear but has a level of autonomy on a small scale: of what you say or omit. A wedding ring left on? Or off and the level of comfort you find in a stranger. This all builds up to the small world building of this patch of forest.
Things begin to escalate, and when they do, it gets dark quickly. Some moments literally made my spine shake. It’s a story of love and the isolation that Henry feels, which is beautifully shown through the setting. And when your own spouse doesn’t recognise you, is it okay for Henry to seek refuge in a stranger in a faraway tower?
This was the best part for me. I liked that for most of the time, the game is just you building this friendship/relationship with this woman in the adjacent watch tower. I looked forward to talking to her. It was so organic.
The game is linear but has a level of autonomy on a small scale: of what you say or omit. A wedding ring left on? Or off and the level of comfort you find in a stranger. This all builds up to the small world building of this patch of forest.
Things begin to escalate, and when they do, it gets dark quickly. Some moments literally made my spine shake. It’s a story of love and the isolation that Henry feels, which is beautifully shown through the setting. And when your own spouse doesn’t recognise you, is it okay for Henry to seek refuge in a stranger in a faraway tower?
Sights & Sounds
- I really enjoyed the (mostly) serene forest setting. Despite not having AAA visuals, Firewatch is still very nice to look at
- The music is sparse but well-used when it shows up
- The voice acting from both of the main characters is excellent. Both leads put on great performances that really brought their characters to life
Story & Vibes
- You play as Henry, a guy living in the 1980's whose life just took a major downturn. Given your dire emotional circumstances, you take a job in the Wyoming wilderness watching for fires
- All the while, you're frequently contacted on the radio by your boss, Delilah, who chats with you, helps move the story along, and gives you tasks to complete
- While working, you stumble upon increasing signs that point to you not being as alone in the woods as you initially expected. In fact, it seems like you're being watched...
- Despite the simmering mystery that boils over in the game's last act, there's a surprising amount of heartfelt storytelling and humor throughout the game
Playability & Replayability
- Firewatch predominantly presents itself as a 1st person exploration and mystery focused adventure game. Some may even dub it a walking simulator
- Gameplay largely consists of trying to find your way through the forests, streams, and cliffs that make up the section of the woods Henry keeps watch over. Beyond simple hiking and rock climbing, you'll sometimes be required to solve minor puzzles
- Not a ton of reasons to replay the game if you got all the achievements. Once you've encountered the game's big twist, there's not much need to revisit the narrative (other than the fact that it's really good)
Overall Impressions & Performance
- Firewatch is a nice, tight story that doesn't overstay its welcome. That said, I found myself wanting a little more out of the game in terms of both story and gameplay. I liked what I played, but I was left wanting a lot more
- The game ran perfectly on the Steam Deck. No bugs or crashes to report
Final Verdict
- 8.5/10. The game will have an easy time pleasing players who enjoy short, narrative-focused games with good stories and light gameplay. Given the short length, I'd certainly recommend it, but for a price that reflects the 4-5 hour duration
- I really enjoyed the (mostly) serene forest setting. Despite not having AAA visuals, Firewatch is still very nice to look at
- The music is sparse but well-used when it shows up
- The voice acting from both of the main characters is excellent. Both leads put on great performances that really brought their characters to life
Story & Vibes
- You play as Henry, a guy living in the 1980's whose life just took a major downturn. Given your dire emotional circumstances, you take a job in the Wyoming wilderness watching for fires
- All the while, you're frequently contacted on the radio by your boss, Delilah, who chats with you, helps move the story along, and gives you tasks to complete
- While working, you stumble upon increasing signs that point to you not being as alone in the woods as you initially expected. In fact, it seems like you're being watched...
- Despite the simmering mystery that boils over in the game's last act, there's a surprising amount of heartfelt storytelling and humor throughout the game
Playability & Replayability
- Firewatch predominantly presents itself as a 1st person exploration and mystery focused adventure game. Some may even dub it a walking simulator
- Gameplay largely consists of trying to find your way through the forests, streams, and cliffs that make up the section of the woods Henry keeps watch over. Beyond simple hiking and rock climbing, you'll sometimes be required to solve minor puzzles
- Not a ton of reasons to replay the game if you got all the achievements. Once you've encountered the game's big twist, there's not much need to revisit the narrative (other than the fact that it's really good)
Overall Impressions & Performance
- Firewatch is a nice, tight story that doesn't overstay its welcome. That said, I found myself wanting a little more out of the game in terms of both story and gameplay. I liked what I played, but I was left wanting a lot more
- The game ran perfectly on the Steam Deck. No bugs or crashes to report
Final Verdict
- 8.5/10. The game will have an easy time pleasing players who enjoy short, narrative-focused games with good stories and light gameplay. Given the short length, I'd certainly recommend it, but for a price that reflects the 4-5 hour duration
Far more incisive than I remembered it being back upon release in 2016. Like most at the time I found myself disappointed in the game's narrative development leaning more towards genre trappings and red herrings as it went along rather than the central relationship between Henry and Delilah. This time around I found a lot more poignance in the game's eventual veering from the prickly and morally gray dynamic between them and into more eerie, unsettling waters that it ends up in with its conspiracies and figures in the dark. Both sides of this game deliberately reflect one another thematically but the latter half manifests this trickling of tortured interiors into a seedy reality and throws it back onto our protagonists for them to parse and exercise collective paranoia (footsteps, rustling leaves, and a distant but encroaching forest fire only add to this effect for the player). There's something to say about the consistent voyeuristic gaze the player adopts as we peer and engage with the insularly designed tedium of Henry's guilt and subsequent grief transposed into the vast forest in which we explore. We never see Julia, his wife who struggles with early onset Alzheimer's, nor even Delilah, who he shares a long distance friendship that increasingly skirts the line between clever banter and explicit flirtation. As the player controlling Henry, we are as plunged into the unknown as he is; left to fill in the dotted lines with whatever fantasy we can conjure and how little is actually in our control by the end. The game's treatment of this is accessible and charming for a while but anyone willing to break down the story's elements will find the forced proximity between Henry and Delilah to be just as sadly vacuous as the unnerving 'mystery' that ends up overtaking the game's second half; in itself a concealed study of how grief exacerbates our avoidant tendencies. So much of this game's haunting effect is not about what's seen in front of us- but what is heard, what is implied, and in some ways what is imagined. Occasionally cringy quips and snarky self-congratulatory dialogue aside there is a confounding quality to this that's stuck with me all these years and I expect it to for a couple more.
Felt like they wanted to do 3 different plotlines but couldn't commit to any of them.
A genuinely engaging story that hooks you from beginning to end. It lacks a couple features I find would be necessary to make this a truly exceptional game, namely, the lack of any true 'gameplay' makes the game feel somewhat surface level. Regardless, I played through the entirety in one consecutive sitting, something that as a working adult I've come to appreciate. One could say it's simply an interactive movie, but sometimes, that's enough for me. Good story, interesting characters, and a mystery/tragedy that begs to be uncovered