Again and again, the Narrator speaks of Donnelly as unreliable, even mad. Donnelly represents the Narrator’s alcoholic, irrational side. The most important facets are Donnelly and Paul. With the exception of Esther, each of the characters represents a facet of the Narrator’s mind, fractured by the grief and guilt of Esther’s death. There are several characters mentioned throughout Dear Esther: Donnelly, Jacobson, Paul, the Hermit, and Esther herself.
The course of the game provides a metaphor for his psychological journey toward acceptance of his guilt, and his reunion with her through the only conclusion he can see: suicide. He had been drunk when the accident occurred, and he feels responsible. It’s taken me longer than I anticipated to really get this together, so I apologize for the delay, but without further ado, here’s my thoughts on the story of Dear Esther.ĭear Esther, at its core, is a story about a man, the Narrator, who lost the woman he loves, Esther, and his struggle to come to terms with her death. I have strived to stay away from other analyses on the forums, and the only tool I’ve used other than my own insight and the game itself is a script of the possible monologues and a couple of wiki entries on the Bible. Managing Committee: Matteo Andreozzi, Stefano Calzati, Ugo Eccli, Cristina Miranda de Almeida.īoard Committee: Alan Albarran (University of North Texas, United States), Rogério Barbosa Da Silva (Universidade Federal de Minas Gerais, Brazil), Giovanni Baule (Politecnico di Milano, Italy), Laura Borràs Castanyer (Universitat de Barcelona, Spain), Derrick de Kerckhove (Politecnico di Milano, Italy), Henry Jenkins (University of Southern California, United States), Marsha Kinder (University of Southern California, United States), Raine Koskimaa (University of Jyväskylä, Finland), George Landow (Brown University, United States), Paul Levinson (Fordham University, United States), Asún López-Varela (Universidad Complutense, Spain), Lev Manovich (City University of New York, United States), Nick Montfort (Massachusetts Institute of Technology, United States), Marcos Novak (UCLA - University of California, Los Angeles, United States), Massimo Parodi (Università degli Studi di Milano, Italy), Bruce W.Dear Esther’s meandering and ponderous narration has many valid interpretations, and the following is simply how I viewed the story. International Journal of Transmedia Literacy (IJTL) “Do You Think You’re Part of This.” Cybertext Yearbook 2000 (2000): Possible Worlds, Artificial Intelligence and Narrative Theory.
Dear esther analysis archive#
“Some Old Dear Esther Archive Stuff.” The Chinese Room (2013). “Dear Esther.” The Chinese Room (Windows PC/Steam): 2012. “Narrative” You” in Contemporary Literature.” Comparative Literature Studies 2, no. “On the Relationship Between Birds and Spirits of the Dead.” Soc. On Grief and Grieving: Finding the Meaning of Grief Through the Five Stages of Loss. Kubler-Ross, David, and Elisabeth Kessler.
Story Logic: Problems and Possibilties of Narrative: Problems and Possibilities of Narrative (Frontiers of Narrative). “Second Person Fiction: Narrative “you” as Addressee and/or Protagonist.” AAA: Arbeiten aus Anglistik und Amerikanistik 18, No. Palgrave Schol, Print UK, 2010.Įnsslin, Astrid. The Possible Worlds of Hypertext Fiction.
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