Odds are good, unless you’ve known me for a while, you don’t really know or can’t chart the history of the Game Pile. Originally, the focus of Game Pile was a review series that’s designed to be entertainingly useful in promoting the sales of games I like and the discouragement of games I don’t, with the notion that seeing me do that would get the attention of gaming editors, and maybe get paid for this work. Then I moved on to trying out a new model of how reviews should be, with my view of a standardised release schedule and form, which sought to tell you reasons you might want to play a game, rather than whether or not a game was, itself, fundamentally good or bad.
Then, in the most recent iteration, Game Pile has taken on a shape I really appreciate, which is to use the game as an avenue to discuss what the game made me think about or care about. It is the treatment of games as art objects. Sure, I try to give you an idea of what the game is like, but I do that by trying to only focus on games I like, and the games I like I tend to like because they make me feel and think something. It’s a nice occlusion.
With that in mind, then, I don’t want to tell you you should buy Planescape Torment. It’s a good game, I like it. If you like slow, talky-ready RPGs, it’s really good. Telling you that is almost the definition of old news and you can probably find someone to wax more rhapsodic about it with a cursory glance around.
Instead, I want to tell you about four stories from this game, and what they mean to me.
Spoilers ahead for, y’know, Planescape: Torment. Continue reading