It’s lonely in the future.

Trust me, I’ve been there.

It’s an interesting tone, though.

A space station orbiting the moon  in Prey (2017).

(TranStar is an unfettered ultra-capitalistic conglomerate on a quest to research alien creatures known as Typhon.

Every sci-fi game needs a company like this.)

Not just DMs, but emails, logs, reports, other written ephemera.

Cover image for YouTube video

Granted, this was hardly a new concept when Prey came out in 2017.

It’s practically a staple in the immersive sim genre.

Together, they “save the moments that matter”.

A person in a spacesuit holds up their hands in Prey (2017).

Stuff like this emits a warm glow, even if we later learn that this relationship didn’t stick.

I should have expected this.

But as I ducked and skittered my way through the main campaign, that hope began to fade.

The player looks through window slats at a man called Will Mitchell in Prey (2017).

Again:I should have expected this.

Not everyone’s in love, anyway.

Luka Golubkin, another member of Prey’s cast, is the definition of a shady character.

A woman lies dead in a freezer in Prey (2017).

Clearly something was amiss.

I realised that his previous victim was Abby.

After all, it meant that I received her message instead.

A man lies slumped inside a pod in Prey (2017).

[…] Dont let him fget awy".

It’s easy to forget that the entire arc involving Abby, Danielle and Luka Golubkin is optional.

This is fascinating, because immersive sims are playgrounds of emergent gameplay and player choice.

Prey has an atmosphere and feeling that can’t be replicated.

It was something truly special and I won’t forget it - not a word.