Begin a journey through one of the most original first-person games of recent years.
用户评测: 多半好评 (4,017 篇评测)
发行日期: 2012年2月14日


购买 Dear Esther

购买 Dear Esther + Soundtrack



"Not for everyone, I realise, but as an example of games trying Something Else, I think Dear Esther is hard to argue against."


“A deserted island…a lost man…memories of a fatal crash…a book written by a dying explorer.”

Two years in the making, the highly anticipated Indie remake of the cult mod Dear Esther arrives on PC. Dear Esther immerses you in a stunningly realised world, a remote and desolate island somewhere in the outer Hebrides. As you step forwards, a voice begins to read fragments of a letter: "Dear Esther..." - and so begins a journey through one of the most original first-person games of recent years. Abandoning traditional gameplay for a pure story-driven experience, Dear Esther fuses its beautiful environments with a breathtaking soundtrack to tell a powerful story of love, loss, guilt and redemption.

Forget the normal rules of play; if nothing seems real here, it’s because it may just be all a delusion. What is the significance of the aerial -- What happened on the motorway -- is the island real or imagined -- who is Esther and why has she chosen to summon you here? The answers are out there, on the lost beach, the windswept cliffs and buried in the darkness of the tunnels beneath the island… Or then again, they may just not be, after all…

Dear Esther is supported by Indie Fund.

Key features:

  • Every play-through a unique experience, with randomly generated audio, visuals and events.
  • Explore Incredible environments that push the Source engine to new levels of beauty.
  • A poetic, semi-randomised story like you've never experienced in a game before.
  • Stunning soundtrack featuring world-class musicians.
  • An uncompromisingly inventive game delivered to the highest AAA standards.


Jessica Curry's haunting and beautiful soundtrack to Dear Esther, now available on Steam, has been a hit with gamers and critics alike. Reviewers have said ""Curry's score reflects the player's feelings without oppressively instructing them. Exquisitely constructed, both sonically and visually" (Eurogamer), "as beautiful as the game is, it’d be remiss not to mention Curry’s atmospheric soundtrack...impossible to ignore." (Edge), "spellbinding, fascinating aural landscape: a resounding success" (Square Enix), "Curry's delicate & understated musical score achieves a level of excellence. It's the ultimate achievement of composition." (Bitgamer). The soundtrack was shortlisted for the Excellence in Audio award at the Independent Games Festival 2012


Mac OS X


    • OS:Microsoft Windows XP / Vista / Vista64
    • Processor:Intel core 2 duo 2.4GHz or higher
    • Memory:1GB XP / 2GB Vista
    • Graphics:DirectX 9 compliant video card with Shader model 3.0 support. NVidia 7600, ATI X1600 or better (Pre-Sandybridge Intel graphics chipsets not yet supported)
    • DirectX®:9.0c
    • Hard Drive:2 GB HD space
    • Sound:DirectX 9.0c compatible sound card


    • OS:Microsoft Windows XP / Vista / Vista64
    • Processor: Quad core 2.4GHz or higher
    • Memory:1GB XP / 2GB Vista
    • Graphics:DirectX 9 compliant video card with Shader model 3.0 support. NVidia 8800, ATI Radeon 2900 pro or better (Pre-Sandybridge Intel graphic chipsets not supported)
    • DirectX®:9.0c
    • Hard Drive:2 GB HD space
    • Sound:DirectX 9.0c compatible sound card
    • 操作系统:MAC OS X 10.6.7 或更新版本
    • 处理器:Intel Core Duo 处理器(2GHz 或更高)
    • 内存:2GB
    • 硬盘空间:2 GB 以上硬盘空间
    • 显卡:ATI Radeon 2400 或更高 / NVIDIA 8600M 或更高 / Intel HD Graphics 3000
7 人中有 7 人(100%)觉得这篇评测有价值
2.4 小时(记录在案的)

4 人中有 4 人(100%)觉得这篇评测有价值
2.6 小时(记录在案的)




强烈推荐 5星!!!
3 人中有 3 人(100%)觉得这篇评测有价值
6.8 小时(记录在案的)
Come back.

亲爱的艾斯特. 我烧掉自己的财物, 书籍, 死亡证. 我会被写在整座小岛之上. 谁是雅各布森, 谁会记得他? 唐纳利在书中曾经提到他, 但谁是唐纳利, 谁会记得他呢? 为了能得到他, 我绘画, 我雕刻, 我挥砍, 最后终于到了这里. 又一个沙滩能记住我了. 我会像一个无底的小岛那样, 从海中崛起, 像石头那样聚集, 成为天空, 成为一座不会遗忘掉你的灯塔. 我们总会受到这儿的欢迎: 总有一天, 海鸥会回来, 在我们的骸骨和历史上筑巢. 在左边, 我能看到艾斯特.唐纳利在我身旁飞翔. 在右边, 我能看到保罗.雅各布森在我身旁飞翔. 他们会在长空刻下白色的线, 直通大陆, 而那里就是支援的目的地.
Dear Esther. I have burnt my belongings, my books, this death certificate. Mine will be written all across this island. Who was Jacobson, who remembers him? Donnelly has written of him, but who was Donnelly, who remembers him? I have painted, carved, hewn, scored into this space all that I could draw from him. There will be another to these shores to remember me. I will rise from the ocean like an island without bottom, come together like a stone, become an aerial, a beacon that they will not forget you. We have always been drawn here: one day the gulls will return and nest in our bones and our history. I will look to my left and see Esther Donnelly, flying beside me. I will look to my right and see Paul Jacobson, flying beside me. They will leave white lines carved into the air to reach the mainland, where help will be sent.

亲爱的艾斯特. 我烧掉了大马士革的悬崖, 我对它沉迷得太深了. 我的心脏有如大腿, 沿着无底船的纸面刻下一道黑痕. 你就是世界, 你好比我眼中的鸟巢, 在那里, 鸟蛋犹如化石, 难以打破, 一起走吧, 一边粉碎, 一边给每点空气都送上小黑花. 这道感染, 是希望. 这个小岛, 是飞翔. 这片悲痛, 是爱.
Dear Esther. I have burned the cliffs of Damascus, I have drunk deep of it. My heart is my leg and a black line etched on the paper all along this boat without a bottom. You are all the world like a nest to me, in which eggs unbroken form like fossils, come together, shatter and send small black flowers to the very air. From this infection, hope.From this island, flight. From this grief, love.

返回汽车后, 双手颤抖, 头部因为冲击而破裂. 再见了, 老泪纵横的姨母和大受打击的叔父, 再见了, 奇异的现象, 再见了, 万物, 再见了, 伍尔弗汉普顿, 再见了, 桑德福, 再见了, 克罗默, 再见了, 大马士革. 悬崖的道路因为露气, 又湿又滑; 腿部患上如此感染, 实在难以攀登. 我必须把坏肉挑出来, 把它们抛弃. 我必须让身体充满新的气息.
Returning to my car afterwards, hands still shaking and a head split open by the impact. Goodbye to tearful aunts and traumatised uncles, goodbye to the phenomenal, goodbye to the tangible, goodbye Wolverhampton, goodbye Sandford, goodbye Cromer, goodbye Damascus. This cliff path is slippery in the dew; it is hard to climb with such an infection. I must carve out the bad flesh and sling it from the aerial. I must become infused with the very air.

这些视网膜中反射着车头灯的光芒, 我岛屿的这条隧道也太长了, 它仿佛深邃无底. 海中生物都出现在海面, 但是却没有海鸥来把它们带回巢穴. 我已经痊愈了: 张开, 盯着, 一只眼睛自己转动着. 我变成了一条受感染的腿, 它的表面成为了一张完美的高速公路交汇点地图. 我会在大腿中部的出口处离开, 然后下降到我的艾斯特那儿.
There are headlights reflected in these retinas, too long in the tunnels of my island without a bottom. The sea creatures have risen to the surface, but the gulls are not here to carry them back to their nests. I have become fixed: open and staring, an eye turned on itself. I have become an infected leg, whose tracking lines form a perfect map of the junctions of the M5. I will take the exit at mid-thigh and plummet to my Esther.

胃中的石头紧紧压着身体, 它确保我能笔直又踏实地往下掉. 我会穿破那些药丸形成的迷雾, 寻得清透. 我的所有身体功能已然失效, 我的所有血管早已堵塞. 如果在我攀上顶峰前腿没有烂透, 这已经称得上是奇迹了. 防抱死煞车的电路图中一共有二十一个连接点, 这座岛上一共有二十一种海鸥栖息, 桑德福交汇点距离家中的拐弯处共是二十一英里. 所有这一切, 都不可能仅仅是巧合.

像指甲般的往后弯曲, 像手指头的倒拉刺, 像一个落水的人死死抓着轮胎, 醉了, 不住地旋转, 最后被冲到一片失落的沙滩上, 而上方正挂着有如碎翼的残月. 我们砍, 我们战斗, 我们停止, 那些可怜的止痛药, 它变幻无常. 我将要飞翔.

他不是喝醉了的艾斯特, 他根本没醉. 他没有陶醉于海里的唐纳利或是雅各布森; 无论在这个初生群岛的失落海岸和海滩中, 都没有属于他的职业. 他并不准备让自己的引擎盖如用过的纸巾般皱褶. 他的挡风玻璃没有像天堂的地图般繁星点点. 他用油漆涂出一组组电路图, 古怪的鱼把海鸥叫走. 轮胎划痕散发出的磷光照亮了从埃克塞特通往大马士革的高速公路.

因慌张而失明, 因笼中交通的喧哗而失聪, 在前往大马士革的公路上停止了心脏, 保罗坐在了路边, 像一只海鸥, 像一只该死的海鸥那样卷曲着身体. 他的未来就像一个身染梅 @ 毒的地图师, 一个奄奄一息的牧羊人, 一条受感染的腿, 一块挡住了前往桑德福和埃克塞特交通命脉的肾石那样灰暗而绝望. 他不是喝醉了的艾斯特, 他根本没醉; 他的所有马路, 隧道, 小径都不可避免地通向这个撞击的时刻. 这不是一种自然状态: 他不该和那些化学物品和电路图坐在一起, 他压根不该坐在那里.

为了隐士的骨头, 为了唐纳利的踪迹, 为了雅各布森的牲畜, 为了那个控告他的空瓶子, 我不停地疏浚这些水. 为了重塑他的轨迹, 找到他心脏停止跳动的地点, 知道他在哪儿看桑德福交汇点上方的月亮, 我把公路洗涤了二十一次. 他不是喝醉了的艾斯特, 他根本没醉, 事情也并非他的错, 他被汇聚线陷害了. 这不是一种自然状态, 海鸥并没有在公路上低飞而致使他转向. 油漆犹如那直击心脏的感染, 径直从他的车子抛了出来.

一只海鸥在坏掉的引擎盖上栖息, 在一旁, 警报传到了不远处, 金属悲痛地为我们呻吟. 我会在这个晚上夜行, 古老的面包和海鸥骨头, 老唐纳利在酒吧喝酒, 老艾斯特和我们的孩子一块散步, 老保罗, 和以前一样, 老保罗打着冷颤, 独自关上了灯.

那条船底下一定有一个洞. 除此之外, 新的隐士还能用什么方法到这里呢?
There must be a hole in the bottom of the boat. How else could new hermits have arrived?

物品: 一张搁板桌, 我们在自己的第一个家时, 曾经使用它来铺墙纸. 一张折凳; 到露营湖间时, 你把它带上了, 我因此而好好嘲笑了一番. 接着, 我有点儿不舒服, 这次轮到你嘲笑我了. 这本日记; 弹簧坏了的床 – 你一旦入睡了, 就得最好别做梦. 一套供替换衣服. 唐纳利的书, 顺道从爱丁堡图书馆偷来的. 我会在最后的早晨把它们烧毁, 投到天空的怀抱.

油灯耗尽后, 我没有捡起火把, 而是借助月光阅读. 当我把唐纳利的书逐字逐句读完后, 就会它扔下悬崖, 随之一起下去的, 或许还有我的身体. 或许, 它会被冲回洞穴里, 到了春雨连绵的季节, 它会开始腐烂, 最后会返回圣人的洞穴中. 或许我醒来的时候, 它会回到桌子上. 我记得自己已经把它扔掉好几次了.
6 人中有 4 人(67%)觉得这篇评测有价值
2.7 小时(记录在案的)
把这游戏放到纯叙事的冒险游戏一类中都显得太过文艺了..两点: 1. 叙事顺序和gone home一样是零碎状 ,须玩家自己重新拼合,才成一完整的故事。 当然...你耐心好的话,这本身是这类游戏的一大卖点,但是:2. 比gone home更狠,文字过于文学范, 光是4级词汇量还不一定能拿下,经常会遇到“一句话都是老单词,但就是不理解说了什么”的情况。。。对于大部分只看中文评测的玩家来说,这两点结合使得这游戏很难玩下去(除了看风景..你要忍得住那走路的速度).... 非+1党预警,不要被开发商的商标和名字骗了
136 人中有 105 人(77%)觉得这篇评测有价值
9.4 小时(记录在案的)
As always, TL;DR at the bottom. This game deserves more though.

In recent years it has become more common to hear gamers, and even some non-gamers giving credit to games as pieces of art. Truly all games are art in some form as they provide a visual and narrative experience no matter what type of game they are. Some games are simply greater classified as art than others, but even inside of that it seems something such as 'Dear Esther' should be given credit on the art scale much higher than any old "video games are art" scale.

'Dear Esther' is claimed by many as "not a game". This is a debate I am no longer interested in, as I simply don't take a hard stance on what a game is anymore now that I have played so many adventure games, and what are more aptly described as "walking simulators". If you want to call it art instead, which it is, I can accept that, but debating on what a game is has become something I do not find interesting anymore. It's a game to me and great art at the same time.

Now that I have grown up a little and become able to appreciate games as great pieces of art, I look for games with beauty in narrative, visuals, music, and even atmosphere much more often than I once did. Giving games described as "walking simulators" a much greater chance than I once would have as a younger gamer. 'Dear Esther' is a game I never would have played maybe as recent as a year ago. I would ignore games such as this and mockingly call them "walking simulators", or games with a lot of FMVs like MGS4, "movies". It's actually quite embarrassing thinking about discussions I've had in the past about such games. >_>

I'm glad I came to my senses because games like this not only give you a sense of extreme beauty, but challenge you to think about things in abstract and interesting ways. Digging into you deeper than a more traditional game focused solely on the gameplay, which I considered the ONLY thing that mattered for the longest time. Games with these weird worlds, stories, and characters just stick with you longer and allow for us to spend more time with them after finishing by discussing them with other gamers. Isn't that something we all enjoy as a major part of gaming? Discussing games and trying to understand them when they give us something to talk about? (feel free to discuss in the comments of this review! Please be mindful of spoilers, however.) It definitely does for me, and 'Dear Esther' made me think, wonder, and read more about it the second I was done playing.

'Dear Esther' on a technical side is a magnificently wonderful game. While you can see in the store screenshots that the game has haunting and lovely visuals, you can't really know how wonderful the atmosphere is without playing it. The music in this game is so well done (I highly recommend buying this soundtrack and I rarely do that) that I found myself saving when I heard a piece start so that I could reload and listen to it again before moving on. The music is atmospheric, haunting, beautiful, and I can't think of a game where I was so enthralled by the music before.

With the musical score lending to the feel of the game, the island you find yourself on gives a tremendous feeling of isolation, dread, insanity, and fear. You will go into "every nook and cranny, John" to see the strange items and locations from all angles before moving down the correct path to move the narration along. Taking these extra paths may lead you to seeing extra narration, or even ghosts out of the corner of your eye. Making you feel like you might not be alone, and then dissipating into mist to leave you wondering if you had just seen something moving, or it was just your imagination.

The narration voice-over is spectacular. A voice that helps the atmosphere as much as anything else, but what is said is just as unnerving in many instances. Narration comes at you as you walk around and move through the island on your ascent up to the top. It will be strange and probably not make a ton of sense every time you hear it. You will feel the mind of the narrator, which is you, seem to disjoint, and speak about things that don't seem relevant at times, but interesting none the less. Strangely, although I have played through the first couple chapters more than once, the narration seems to change in different playthroughs, making it almost impossible to know what exact pieces you will hear in a certain area. The theme and dialog seems to be standard enough through the entire game that the story you hear is about the same as it would be any other time, but it is quite interesting to hear other blurbs as you reach a section from game to game. I have no idea how many of these different blurbs you can encounter, but I am planning to play through the game again, maybe several times not just because I love the feel and isolation I feel while playing the game, but to tread deeper into the depths of the story and hear various new commentaries.

If you read this far, this game is for you. If you are willing to take this much time to read a review, I think you can appreciate this wonderful game as the artistic piece of work that it deserves. I highly recommend this game to anyone that has accepted games as more than just gameplay, but as a form of true beauty, a place to lose yourself in a world without having to shoot at things and jump around, and challenge yourself to see what the creator is trying to say by making it less than easy for you to interpret their strange thoughts to us gamers.

A like-minded gaming friend gifted me this game, and I am truly grateful that someone cared enough to share this experience with me. It was a wonderful journey. Thank you. :)

TL;DR Glorious mix of graphics, music, narration, and atmosphere. Walking simulator that is a true masterwork of art in the gaming universe. Even if you don't respect games such as this, give it a try (Not sure there has been a game in more bundles than this one so there is no way you can't get this for cheap at some point. The forum has 75% off coupons being given away constantly right now as well so there is that too). and see if you can appreciate it for what it is rather than just disregarding this genre entirely without actually making an effort to understand why people DO like them. A challenging, insightful, chilling, isolationist walk through a place that could make you think, feel terror, and maybe, just maybe turn you into a fan of more than just games focused entirely on gameplay.
63 人中有 51 人(81%)觉得这篇评测有价值
4.3 小时(记录在案的)
Dear Esther: Games as Art

Up till five years ago, discussions about games as a form of art, were largely considered as non-important. There was a more or less clear distinction between the "higher" arts, and the more "commercial" games, although many of those used elements from several arts (in-game music, often symphonic and with a classical feel to it, being just one example). With the rise of the Indie game-scene around 2010, things started to evolve fast. Since indie-developers are not bound by contracts to large (and indeed often very commercial) publishers, they found themselves in a position where experimenting with the medium of games itself turned into something viable.

One of the almost immediate consequences of this huge shift in focus, was the rise of what many have called since then "artistic games": games as the newest form of art, following in the footsteps of literature, music, architecture, painting, sculpture, photography, cinematography and the likes. This idea has generated some debate during the last five years, but it's still an underrated aspect of gaming. The one game that really stands out as maybe thé flagship of the artistic games, would surely be Dear Esther. Released in February 2012 by the small indie-company The Chinese Room, it made a huge impact on the gaming scene by the radical way in which it changes the entire concept of what a computer game is all about.

In this game there are no "goals" the player has to achieve, there is no such thing as "winning or losing", there is not even the possibility of playing well or badly, or of interacting with the environment. Actually, the gameplay is extremely limited: the player can only walk around on an abandoned island in the Scottish Hebrides in first-person view, with no running, jumping, climbing or crouching as in most first-person games. This immediately gives the game a very leisured pace, which may not be to the liking of everyone. Dear Esther has even been called a "walking simulator" - it's the most prominent of its tags on the Steam store at the moment. But it's nothing like that, in my opinion. Thsi game is not about the physical walk around the - extremely impressive and atmospheric - island. Dear Esther tells another kind of story: a story that happens within the main character, and one that is told with such emotional force that I as a player not only identified myself with the character, but also started to actually FEEL like he does. Now that's a rare experience in any game up till now: the feeling that the entire game, with all its components (visuals, story, music in this case) got under my skin in such a way that I got emotionally involved to a very, very large extent. I won't spoil anything from the story, but it's nothing light-weight to be sure and the game has stayed with me since I first played it three weeks ago.

And there is not really much more to say about this amazing, almost genre-defining piece of art. Actually, the debate may not be if it's a piece of art (most will agree to that), but to whether it's a game or not. To my opinion, it's certainly both, and as such stands proud as one of the prime examples of artistic games that give as rich and rewarding an experience as reading a novel by Daphne du Maurier, looking at a painting by Turner or listening to a sonata by Mozart. But be advised: this gem calls for your complete attention, so headphones and a dark environment are recommended. Especially so since the soundscape the game provides, be it from the howling of the wind to the eerie, haunting music by Jessica Curry, deserves every inch of attention.

Overall score: 9/10
141 人中有 90 人(64%)觉得这篇评测有价值
1.9 小时(记录在案的)
I did really end up enjoying it even if I can't recommend it. On the surface this has a lot going against it. Dear Esther feels like less of a game, more of an experience. You awaken on an island at one end under a lighthouse and you walk your way to a red beacon on a radio tower in the sky. The whole thing takes an hour or less to complete the experience. The controls are simple, walk and zoom. There is no jump or sprint.

You will experience the morbid and yet gorgeous island in all of its glory. I say experience more than explore. As much as you can walk around and think you're doing your own thing, you're really just on a set path that is highly detailed and winds through coastal beaches, caves and cliff sides. It is a beautiful game and might be one of the most beautiful games ever visually.

The day turning into night was a nice touch, even if at night you can end up completely blind by the dark. It seemed like the day and night wasn't random as the game claims, but if I died, it did become darker until I was unable to see.

The whole thing is very immerse with only 3 loading 'screens' once the game begins. The game is short and sweet, it doesn't overstay its welcome for what is basically a glorified tech demo of the Source engine. Supposedly no play through is the same with different audio for each run, but when I played a second time everything felt the same even if I didn't hear the audio at the exact same spot. I explored a lot more, but everything was the same.

You can also find it in a few bundles for less than $10 which then the price is worth it, but for 1 hour of an experience, I can't recommend it.
28 人中有 23 人(82%)觉得这篇评测有价值
9.5 小时(记录在案的)
This is an excellent way to share some time with yourself, in a very intimate way. Only for loners.
30 人中有 24 人(80%)觉得这篇评测有价值
2.5 小时(记录在案的)
"How many dead shepherds could fill this hole?"

Dear Esther is the kind of video game which is doomed to be criticized. The reason is gameplay for you only do three things: walk, listen and watch. Formula like this can encouraged a decent number of people to confer a title of Walking Simulator - 2012 on this adventure game from the young British developer The Chinese Room , who previously worked on the atmospheric Half-Life 2 mod Korsakovia. But at this point gamers of all ages should ask themselves a question: do they need another rank-and-file FPS on already flooded modern VG market or are they open for innovative ideas and blending of various kinds of art?

Dear Esther originated from a Source engine mod of the same name made by The Chinese Room in 2008. In this completely reworked standalone only WASD and a mouse are required to play (get your left-hand middle finger ready). Taking into consideration this fact, if Dear Esther was the first video game ever made by man, the industry would have been slightly different... However, alternate history theories aside, DE is to be considered as an unusual experiment, which strays from traditional principles of electronic entertainment. Gameplay is stripped of some now widespread features: interactive objects, logs, and puzzles. It takes away the fun in a traditional sense of the word though it may be all this have been sacrificed for the sake of storytelling and getting more engaging and emotion-focused experience.

The storyline is one of the strongest points of the title. Presented in a form of an audio messages, it tells about the man who lives (lived?) as a hermit on an island in the Hebrides - an archipelago just off the coast of Scotland. He wrote a letter to Esther, supposedly his wife, and messages you hear exploring as an unnamed silent protagonist are clippings from this writing. They appear when you reach certain spots of four different locations. This feature adds some replay value to a mature, if rather short journey as one can discover new pieces of the story should he visit places he missed in the next play-through. Writing is top-notch, the narrator is brilliant and reminds of the great Richard Burton, who lent his voice for Jeff Wayne's 1978 epic rock opera War of the Worlds. The story raises some major existential questions, leaves room for interpretation, and overall feels like it has been inspired by H.P. Lovecraft works.

Dear Esther looks and sounds gorgeous. It is not about photo-realistic visuals but about crafty game of light and dark, sounds, colors, and shapes. The island feels alive: grass sways, water flows, caves breathe and glimmer. The result: the most impressive landscapes which are competing in one league with Dead Space franchise and Skyrim. Sound design is faithfully backing it all up as everything - from chilly wind to distant ship horns - sounds naturally yet somehow unusual, out of this world. Combined with serene, at times dreadful music by Jessica Curry, it makes a huge impact, immersing one into the atmosphere.

Giving the game credit where credit's due, it is more than just a bold experiment. Dear Esther is an indie title which shows that gaming has grown up and is not just about mashing buttons and shooting galleries anymore. It offers no challenge but challenges your mind. It doesn't pull of any tricks but occupies it's own niche and broadens the boundaries of PC gaming, thereby bringing rage upon itself. For $10 you get 2 hours of sheer aesthetic joy on your PC. Only if your slogan is "No gameplay, no game", there is nothing for you here and there will never be.
41 人中有 28 人(68%)觉得这篇评测有价值
1.9 小时(记录在案的)
Absolutely mesmerizing storytelling, with the tone of a masterfully penned novella and music that bears the weight of endless sorrow. An island that feels more like a character than a place. The only choice you have is to keep advancing or stop playing.
Dear Esther manages to be a profound and unique experience, even though it consists solely of walking through a virtual environment and listening to a man slowly lose his sanity for a little over an hour. I've replayed it many times and loved it more each time, while still feeling like I hadn't understood all it had to offer. Whether you consider it a game or not, Dear Esther is certainly a work of art.
83 人中有 50 人(60%)觉得这篇评测有价值
4.1 小时(记录在案的)
A game that is not afraid to change up the formula by reducing gameplay and adding an amazing atmosphere. Instead of gameplay Dear Esther focuses on conveying a meaningful, interpretative story with a soundtrack to match it. If you are looking for action you have come to the wrong place, if you are looking for a game that has will leave you with something more then your typical game I recommend this.
15 人中有 12 人(80%)觉得这篇评测有价值
2.5 小时(记录在案的)
This is a work of art.

There is little story, and even less gameplay. You're mostly railroaded along a path, where you will hear and see things. The world is visually appealing, and the voice work is wonderful, but the overall mood may or may not appeal to you.

Like any purely artistic work, it either speaks to you or it falls flat. Personally, it's not my cup of tea, but it might be yours.
31 人中有 19 人(61%)觉得这篇评测有价值
2.2 小时(记录在案的)
My recommendation to anyone thinking about playing this game is to go into it with the proper mindset. It is not so much a game in the traditionally understood sense of the word. Rather, Dear Esther is an almost entirely cerebral experience. It works on the player in much the same way a good painting will effect an observer who sees in the art not merely a window looking out on our own world, but that same world slightly altered by the surreal, and thus bringing to light things about ourselves we might not otherwise see. That said, Dear Esther, by it's very poetic nature, is one of the most immediately captivating games I have encountered; I do not believe it should be overlooked simply because it does not conform to the usual way in which people have come to view video games.

Overwhelming is the sense of solitude on this gloomy, desolate Hebridean island. Heavier still is the desperately sorrowful soundtrack, by Jessica Curry. In style, it is similar to film composer Christopher Young's most sparsely written music, and plays as a more effective voice in this introspective journey than does the admittedly potent narrator. I often find game music lacking in its ability to plunge beneath the fabric of a game and tug to light its individual and vibrantly beating heart, but this is a rare instance where such a feat is accomplished. Haunting as any chamber music has ever been, the score to Dear Esther will probe the emptiness within each of us, and get us contemplating questions most prefer to ignore.

This is a relatively short journey, requiring the gamer to simply progress across the island until they have reached a lone radio mast. There are no decisions to be made, no objects to interact with, and the fragmented narration of the main character plays out as you progress. The epistolary narrative renders the intent of the story in a vague light, like a sequence of events seen through shimmering tears. It is debatable what Dear Esther is actually trying to say (and I believe it to have been done that way intentionally), but anyone willing to open themselves to the voices haunting this Scottish island are certain to draw some very strong conclusions.

To me, the story deals primarily with unspeakable loss, and how we set ourselves up for even greater heartache (potentially leading even to madness) if God is not our anchor in all things. I, for one, see the issue of personal transcendence (as it is articulated at the end of the game by the main character's leap from the radio tower, who then begins a ghostly flight across the moon-dappled sea, followed by a black fade) to be illustrative not of our ability to achieve such a spiritual shift on our own, but exactly the opposite: There exists within fallen humanity a perpetual, aching cry to be delivered, redeemed--to transcend the shattering effects of our sinful natures.... But humanism cannot accomplish this miracle, nor any form of man-centered religion focusing on personal moral performance or upon the sincerity of their emotions as they are connected to a certain belief system. The blood of the Lord Jesus Christ is the only atonement by which we can be saved from all this death. He is the only peace, the only Truth. The end result of all other efforts at redemption lead only to chilly shadows and vacuous spaces brimming with regret.

Hopefully sharing my personal interpretation of Dear Esther does not come across as a clumsy effort to proselytize (if that were the case, I would certainly have given the Gospel in its fullness), but rather illustrates the power and versatility the player can expect to experience by such an unconventional game as this.

For anyone looking to plunge beneath the surface within themselves as they embark upon the solitary journey to the radio tower, Dear Esther offers surprising treasures that periodically flash their brilliance even years after the experience has ended.
15 人中有 10 人(67%)觉得这篇评测有价值
2.4 小时(记录在案的)
Brilliant experimental design. Love the narration and visual elements
10 人中有 7 人(70%)觉得这篇评测有价值
4.1 小时(记录在案的)
Dear Esther is not a game, it's a playable poem with a stunning soundtrack

14 人中有 9 人(64%)觉得这篇评测有价值
4.7 小时(记录在案的)
Ever noticed how, very occasionally, you will play a game, listen to a piece of music, watch a movie or whatever, and you know, as soon as you've finished that it will stay with you for a long time?
I'm getting that right now.

I've just played through Dear Esther twice and I find it to be time and money VERY well spent.
This is not a game in the conventional sense.
If your fix is usually space marines shooting aliens, this might not be for you. It is very unorthodox.

It has no enemies, no other characters, no items, no object interaction at all. All you do is walk and explore as the back story unfolds through often dreamy monologues.
But therein lies its strength. It really does try something different, and it pays off.

It really is beautiful. It's a couple of years old now, but if you crank the settings up to full it really shines. This is due in large part to the actual art direction and creation of the island setting. It looks very natural with no copy and paste going on and it all takes place in dusk or night time so it looks moody and washed out.
Seriously, take time to look around at the scenery.

The sound is completely perfect and enhances the experience no-end.
The musical score is haunting and perfectly timed to coincide with epic scenery or other happenings. The narrator (the only voice in the 'game') does an excellent job as well.

It's a strange thing that a game in which you do so little can have such an impact, but that really is the case for me.
This game is as beautiful/haunting/mysterious as it is unorthodox.
It won't be for everyone, but if you are open to something different, put those headphones on, turn out the lights and go for a walk :-)
3 人中有 3 人(100%)觉得这篇评测有价值
2.5 小时(记录在案的)
Unbelievable game. Really a must-have for anyone interested in a nicely delivered story.

7 人中有 5 人(71%)觉得这篇评测有价值
0.3 小时(记录在案的)
Great game, might be a little tricky. Not a game with action, but a game with focus on Gameplay and Sounds/Music who actually fits in!

10/10 Would Esther again
9 人中有 6 人(67%)觉得这篇评测有价值
1.2 小时(记录在案的)
- Immersive atmosphere
- Beautiful soundtracks
- Unique experience

- Vague story: open to different interpretations.
- Slow paced.

- It's a bit pricey for an 1-2 hour experience. Get it from a bundle or when it's on sale!
- Word and languages choices might be difficult for people who use English as a second language.

Final verdict: 7/10.
77 人中有 40 人(52%)觉得这篇评测有价值
1.3 小时(记录在案的)
I loaded up Dear Esther on my computer with high expectations. I'm a new gamer and have an arts background, so I have enjoyed exploring some of the indie games instead of the usual gun-blazing brain-blasters that seem to be so popular. I had just finished playing Gone Home and really enjoyed it. From the reviews I had read, Dear Esther was supposed to be an even better narrative-driven game. It wasn't.

When I realized you can't DO anything -- no object engagement, swimming, or overcoming the tiniest of obstacles -- I patiently explored the island, waiting for something to happen. About an hour and a half into the game I decided to give up for the day, feeling like I'd seen a lot of stunningly beautiful landscapes, but that's about it. When I reloaded the game on another day, I discoverd I was forced to start from the beginning, and there was no way I was spending another hour and a half of walking an island with nothing happening just to get through the last of the dull storyline.

I'm sure the story is great, though the metaphorical and lyrical language that guides the game was pushed too far and comes off a bit pompous-sounding. They tried too hard to be brilliant with this one, and it comes off as unnatural and forced. Skip it.