![]() As such, you’re pulled along by the foul-mouthed, often melancholic exchanges among its cast of oddball characters and each newly inventive item description (a book on “crisis LARPing” still lingers in my mind). ![]() ![]() The game is built around the conventions of point-and-click adventure games and visual novels, presenting you with 2-D scenes filled with objects to look at and people to talk to. We can add the queasy township in Norco - situated on the Mississippi River, bludgeoned by extreme weather - to this list, a space summoned not through photorealistic graphics but disarmingly beautiful pixel art, as if a Luminist painter of the 19th century had been given a computer instead of a canvas. Video games have a long history of conjuring places so convincing they feel real: Midgar from Final Fantasy VII, Liberty City in Grand Theft Auto III, the down-and-out district of Revachol in indie RPG Disco Elysium. Kay needs to find her brother, who has been missing for the past few days, so you begin directing her through a variety of nearby locations - a dive bar, a gas station, an abandoned mall - exploring a place whose mood is described by its developers as “petroleum blues.” Playing as the 23-year-old Kay, the game opens as you slip in and out of consciousness, unable to sleep because of the noise thrumming from the petrochemical facility. ![]() Norco, the winner of the inaugural video-game award at the Tribeca Film Festival, establishes its setting - a blighted, near-future Louisiana town situated in the shadow of an oil refinery - with exacting efficiency. ![]()
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