In many games, walking around is just something we do before jumping over that wall or shooting that menacing enemy. But an increasing number of independent games are tamping down on feature-creep and reimagining how we consider putting one step in front of the other.

It’s an intriguing design decision: What if walking around the environment was the primary--or even the only--action to perform? What else needs to happen to the player? Where should you permit the player to go? And why would they want to go there? 

Bold titles like Gone Home, Dear Esther, and Firewatch have expanded the scope of what a video game can be by purposefully limiting the scope.

“The key thing for us is the player experience, storytelling, being in the world and the moment,” says Dan Pinchbeck, creative director at The Chinese Room. The studio's first title, Dear Esther, began as a mod of Half-Life 2 that stripped the original game down until all that remained was a mysterious island, a voiceover, and a series of indelible moments. Modern blockbuster open-world games can often feel like a series of checklists to complete. The point of Dear Esther was to exist in this place and wonder what transpired there.

Some skeptics of this burgeoning genre use the term “walking simulators” as a negative. The label - although used for one of the first times in a Gamasutra article defending the game Proteus - has arguably become an ironic push-back to developers who asked players to achieve little more than wandering through a field. 

Dear Esther

But walking can take you to fabulous places you’ve never been before. 

Goals just get in the way of writing good characters, Pinchbeck says, even if those characters are long-gone, as they are in the studio’s Everybody’s Gone to the Rapture. “The story always comes first for us.”

The story of the walking simulator is still being written. Arguably, the phrase has since become the generally accepted name for a genuine genre -- even if some developers don't use or can't stand the term.

When a dismissive descriptor becomes the name of a genre

Karla Zimonja, co-founder of Fullbright and both a 2D artist and story editor on Gone Home, takes the shrugging shoulders approach when asked if the term’s injurious past strikes a sour note. “You don’t get to choose your own nicknames, right?” she says. “People label things in ways they find useful. It’s not really up to us to pick how people refer to our games.”

Triple-A games often have an entire marketing team (and commensurate budget) helping craft a public-facing message about what kind of experience awaits. Indie studios are often stuck doing their own promo, leaving more of that reception to the whims of the players. And at times, their message is the one that sticks. “We tend to refer to our games as ‘story-exploration games,’ Zimonja says, “but, like, it’s not as catchy.”

Gone Home

Jonathan Burroughs, co-founder of Variable State and co-director of their first game, Virginia, agrees that other terms haven’t captured the audience’s attention the way "walking simulator" has. “It’s become this increasingly formal way to group these kinds of games together,” he says. “People sometimes refer to empathy games or alt-games, but I think walking simulator, for better or for worse, seems to be the one that stuck.”

That doesn’t mean he loves the term. “It’s inherently a reductive description,” Burroughs admits. “It’s silly. But it is useful in the sense that if someone describes a game as a walking simulator, it’s immediately of interest to me.”

Pinchbeck concurs. “It’s a stupid term because it doesn’t in any way represent the actual player experience of the games.” In all of these titles, you certainly do more than walk. (Zimonja adds: “I have this nagging feeling that a true walking simulator would be something like QWOP.”) 

Some of the acceptance of the term is down to the fact that all genre labels are simplistic, an accepted standard in order to categorize art for consumption’s sake.

“You could argue that calling a game like Deus Ex a first-person shooter is so massively reductive as to become meaningless,” Pinchbeck says. “But the key thing is that players can navigate their way around and find titles they like, so I think it’s better to own it than kick back against it.”

Design choice or happy accident?

Jake Rodkin of Campo Santo explains that with Firewatch, they didn’t start out wanting to make another "walking simulator."

“We made the game we wanted to make out of pieces of other games, and other genres, that we liked or of ideas we had sitting around in our brains.” That meant taking what a lot of popular titles were doing and focusing on the parts that resonated with them personally. Most of the time, these didn’t match the stated goals on the back of the proverbial box.

“Everyone talks about the first 15 minutes of Bioshock Infinite,” Rodkin says. “Or your memories of your time with Shodan in System Shock, or GLaDOS in Portal... The feeling you get from playing those games sticks with you even when you’re not thinking about the part where you’re hitting a splicer in the head with a wrench or solving a puzzle.” 

Zimonja and fellow co-founder of Fullbright Steve Gaynor both worked on Bioshock 2’s lauded DLC, Minerva’s Den. So when they started their own company they had an idea as to what the first-person genre could do. But also which elements they wanted to expand.

“We didn’t go through a period where we experimented with making a shooter and then were like, well, the shooting part is what we can’t afford,” Zimonja says.

She’s quick to point out they weren’t inventing something new so much as building on ideas of the recent past. “We had games like Dear Esther and stuff like that as an example. It’s not like we were stepping completely into unknown territory. So that was a thought process rather than a development process…We wanted to see how much we could strip away and still have a coherent, interesting experience.”

There’s a sense that many walking sims are responses from experienced developers fatigued by working within past constraints. Rodkin and Sean Vanaman started Campo Santo after having worked on The Walking Dead: Season One for Telltale Games.

“That game was very much shot like a television show... But the games we were playing personally at the time were all big first person single player stuff,” Rodkin says.

Firewatch

Firewatch was an attempt to take the dialog-rich, character-heavy narrative of The Walking Dead and plant it within a larger open world. “Can we take this aesthetic and spatial navigation feelings of an immersive sim or something like Day Z,” Rodkin says, “and then take the adventure game, which is a pretty static genre by and large, and then blow it way out by putting an adventure game-style story into a big contiguous world the player can explore at their own pace.”

“Instead of having puzzles, you use a sort of first-person game style environmental storytelling,” Rodkin says. “At the end of the day, maybe that’s what a walking simulator is, I dunno.”

For Burroughs, it wasn’t a previous game he’d worked on but someone else’s. “It was a real epiphanic moment when we played Brendon Chung’s Thirty Flights of Loving for the first time and saw the use of cinematic editing in that game and saw how effective that was.”

He knew Variable State’s first game would hinge on character performance, since co-founder Terry Kenny’s background was in character animation. But Chung’s game showed them a story needn’t be bogged down by spoken words, or even written text, to be compelling.

Virginia

“Rather than a technological innovation, say, it was so much an incredible conceptual leap that he had made,” Burroughs says. “Cinematic editing is the bread and butter of filmmaking. We’re all immersed in