I think the important thing that comes out of Dear Esther is the recognition that, in a game, we actually construct our own world. The narrative experience that come out of a game doesn't need to come from cinematic cutsenes, plot twists or extended dialogues, because we put together all of the information we are receiving and this includes the scenery, the atmosphere, symbolism and patterns in the environment, as well as verbal and written narrative. The game-world does not consist of what the 3D designers have programmed into the game - the player is not separate from the game-world but very much part of it. When you analyse the game you can easily say "well, so what? it's just a bunch of seaside scenes and cave with a few monologues placed over the top". The experience betrays much more. In this way it follows the tradition of games like The Path, and I hope this tradition continues to develop.
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