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We didn’t want people to play the chisel-jawed hero trying to save the world. Jessica takes us back to the foundation of the game’s concept, working with her The Chinese Room co-founder – and husband – Dan Pinchbeck: “Dan and I really wanted to try to tackle the apocalypse in a new and very different way. “We never had a ‘we must change the games industry’ ethos” Jessica tells us, “we just wanted to tell the stories that we wanted to tell.”

Yet, as Jessica Curry tells us, its original genesis wasn’t spurred by a desire to widen gaming’s emotional language. Though it was released back in 2015, Everybody’s Gone To The Rapture is still a frequent citation for those pointing to examples of how the interactive medium can explore complex themes, such as grief, in interesting new ways.

READ MORE: ‘Dear Esther’ at 10, and the rise and fall of the walking simulator.

Curry’s music was very much a living, breathing characteristic of the game, following the lone player on the wind, framing ghostly re-enactments of past events and wringing out the shifting moods of its pastoral landscape. Rapture relinquished conventional gameplay mechanics and – as with its spiritual predecessor Dear Esther – emphasised aching isolation over action, underscoring a world weighted by the omnipresent cloud of absence. Via a blend of its bucolic Shropshire-based setting and the loneliness of its desolate houses, fields and streets, all soundtracked by birdsong, and Jessica Curry’s emotion-stirring, BAFTA-winning score, The Chinese Room’s Everybody’s Gone To The Rapture presented one of gaming’s most strikingly effective depictions of loss.