Pixelberry had its origins in the early 2000s when Asian American Stanford grad Oliver Miao founded a game company, Centerscore, with a handful of friends. But if we’re taking seriously the project of examining the continuing impact of interactive prose in each decade of its history, it’s impossible to leave out the app in which The Freshman and its sequels were published: Pixelberry’s Choices, and its many competitors. The reasons why have to do with the politics of gender and game genres with cultural baggage around divisions between hardcore and casual players with the ethical concerns of free-to-play monetization models with the definitions of “interactive fiction” and their relationships with visual art and UI design and with the way most fans and scholars have been trained to think about which games “matter,” and why. Even most catalogues of interactive fiction don't include it. Despite this it’s never been reviewed on a mainstream gaming site. It might surprise even readers of this blog to know that an interactive fiction romance called The Freshman, released the same year as Infinite Warfare, has reached a vastly larger audience: it had been played nearly 45 million times as of 2020.
Yet media coverage of digital games rarely reflects this.
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Dozens of mobile games that year had far more downloads, due to cheaper or free price points and more ubiquitous platforms. Biggest gross, though, does not equal most played.
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The highest-grossing digital game of 2016, according to leading market research firm the NPD Group, was Call of Duty: Infinite Warfare, which sold 1.8 million copies for PC, Xbox One, and PS4 in its first week of release, and reached lifetime sales figures of 13 million.
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