Publilcations great and small gather to discuss the wonders of The Path, apparently the It Game of the game blogosphere (Slate). 
It still amazes us that mainstream magazines like PC Format award The Path with Gold. That thing that is wrong with the games industry, well, it’s definitely not caused by the games press, who is meeting our little experiment with open arms.
The Path is also starting to get noticed in the more general press. Which makes us very happy because we really hope that it is a game that non-gamers will appreciate too.
The Path is thoroughly gynocentric in its design, character direction, music, etc. (…) You don’t have to be a female gamer, though, to appreciate The Path’s take on literary symbolism, Gothic sensibility, and relaxing pace of play.
Rebecca Wigandt on Gamer’s Intuition
The Path is a sort of anti-game in a way, a game turned inside out in service to something deeply personal, human and disturbing.
Mike “Scout” Gust on Tap-Repeatedly
The Path, in my opinion, transcended everything I’ve ever thought a computer game to be and instantly planted itself into my thought patterns.
What’s more, certain independent games are entering a phase – familiar to historians of jazz, comics and indeed 20th-century literature – of vigorous experimentation with techniques of narrative. (An evening with the frightening and baffling The Path, rather like an Angela Carter story siphoned through The Sims, will show you what I mean.)
Telling a story through open interactive medium is not a simple task, but Tale of Tales pulls it off using atmosphere and implication. They also leave plenty for the reader’s imagination. Love or hate the experience, The Path is a marker in the evolution of storytelling.
DG Shrock on Writing for Torre
Man muss sich in jedem Fall auf The Path einlassen, muss in den Wald ganz eintauchen und den Alltag hinter sich lassen. Wem das gelingt, den erwartet ein ganz besonderes Erlebnis.
Noli_me_tangere on Resurrection: dead
The Path, in sostanza, è la Corazzata Potemkin del videogioco. Pretenzioso, soporifero, sconclusionato, per chiunque sia alla ricerca di un normale videogame. Elegante, ipnotico, onirico, per chiunque sia alla ricerca di un’esperienza audiovisiva.
What I experienced was nothing short of breathtaking: entire worlds of narratives and areas to explore unrestrained by contrived and cliched gaming tasks (such as “defeat this monster, progress to the next level” etc).
The animations are beautiful. The music can be chilling. The words and images grow increasingly disturbing, and sometimes sexual, though opaque. When it’s all over, there’s a lot to think about, which turns out to be a more enjoyable exercise than actually playing The Path.
I’m really torn on The Path. I don’t know what to do about it.
Akela Talamasca on Big Download
Many won’t enjoy it and some won’t understand, but this is an important step in the evolution of gaming. This sort of experimentation deserves recognition and reward and I only hope we’ll see more like it.
Dave James in PC Format 227 (June 2009)
The Path probeert je duidelijk te maken dat je je eigen levensweg moet bepalen en niet altijd naar anderen moet luisteren, zelfs al weet je dat het naar je eigen ondergang zal leiden. Zware kost dus, afwisselen met Braid is dan ook toegelaten.
Bart Van Heymbeeck in PG Gameplay 157 (May 2009)
There was also a 4 page review plus interview in the Ukrainian Gameplay magazine. Apparently, according to our esteemed colleague of Ice-Pick Lodge, they rated The Path the same as Killzone 2. 😀
As an art house project The Path can be considered quite successful. The work of Tale of Tales is preserved thanks to the vagueness of the game’s genre. It’s difficult to review something that has nothing to be compared with. If you’re looking for a new experience, then consider your $10 well spent.
Kirill Tokarev in Gameplay
While I’m all for honest reviews, the Mac Monday reviewer didn’t even finish playing the game before writing. : How depressing.
o rly?
i mean, i enjoy hyperbole far MORE than most but I think I’d prefer it were “The Joan of Arc of video games, flames!”
accuracy. in. reporting. plz.
Because I used the keyboard to play, the rest of this review will use that scheme.
Thank god he didn’t take the joystick, or he’d have to write a whole article with it!
Hello! Before saying anything let me apologise because I’m not an english native speaker so I could commit some mistakes. Well, I’ll go:
I just have bought The Path a couple of hours ago and I really wanted to say it is because like people like you two that videogames, understood them not as mere entertainment, but as a way to comunicate things and a new way to narrate things are not just dead.
This last E3 was dissapointing for me, it seems like there is only an important place to Metal Gears, Uncharted’s or Call of Duties while the TRUE efforts to make this media (as potentially powerful as cinema, music or literature) evolve keeps just in a totally second place.
Although, I was really happy to see The Path has taken his absolutely deserved place being so nicely scored. Unfortunately, games like The Path are the exception, things like Passage or Fathom remain totally forgotten.
Well, excuse me if I have written too much, and let me just hope you the biggest of lucks and wish you keep doing so fantastic works. See you!
Thank you, Welks.
E3 is a commercial fair. Not an event to discuss evolution of the medium. So it’s normal that companies are going to promote their most commercial products. And those are usually the ones that are the most entertaining.
I find it a bit strange that gaming enthusiasts are so interested in the so-called mainstream of gaming. In any other medium, the enthusiasts are far more interested in what happens on the fringes, in the experiments. But this is probably typical for a cultural niche. And it may change as the audience broadens (thanks to more diversity). As we can tell from the critical response to The Path, some people within the niche definitely appreciate our efforts. So there is hope.
The point is that in an ideal world, The Path would be as commercial, or non-commercial as Dead Space, for example. I don’t really think commercial or non-artistic-intentional games are bad or undesirable. Having just fun, enjoying well-recreated environments, or nice physics is funny and nice too. To be honest, I don’t feel always like watching Stalker or Eraserhead. There are moments that the only thing I want is shoot some bad-terrorists and disconnect from the world. I think it’s not just normal, but desirable being tuned of the both sides, the commercial and the non-commercial, as they offer different things that occupy different places, and both compatible and likeable. And so, I do feel inmensely interested on experiments, but, why not being interested in the other side of the balance?
Then, as a defender of plurality, I think the indie gaming should have his own place on E3 as important as the commercial games, and is for that that I feel dissapointed. I know I’m really unrealistic and idealist, but well, as long as I think everything should be that way, seeing how things go nowadays just make me feel wrong. Of course, The graveyard and Prince of Persia walk different paths, but I’d really like to see EA or Ubisoft doing something as risky and experimental as independent developers do.
Well, at least, as you say there are things that show us there is still hope.