Videogames don’t like people. Of that, the overwhelming amount of fantasy, war and sci-fi games, the ones set around goblins, androids and super-soldiers—the ones patently uninterested in real human beings—are proof enough. But even when games profess an interest in personhood and human experience they avoid substantive fiction. Everybody’s Gone to the Rapture seems to focus on a village in England, and the relationships between the people that live there, but the people are all dead and instead of seeing them and how they interact with one another you find, merely, their ghosts and some recordings of their voices. Gone…