What can we learn from gaming’s sudden fascination with fabric?

The Dev Is In The Details
Earlier this week, Zack Handlen stopped by with a review of Unravel, a modest game about an adventurous creature made of yarn. Down in the comments, Wolfman Jew wondered if it, and other games with a strong focus on fabrics and fine details, is indicative of a greater, era-defining trend:
I’m wondering if we may be seeing a trend, from the obsessive clothing design of later Assassin’s Creed to Yarny and Yoshi’s Woolly World (Knack also fits here, even if we’ve all forgotten about it), in which this current era of games might be defining itself around fabric and textures and, more broadly, having an eye for extreme detail. Maybe this is what this generation has to do to differentiate itself? We’ve already made, seen, and gotten visually dynamic three-dimensional graphics, large and interactive worlds, increasingly diverse types of online play, and digital distribution. Some of the big new ideas we’ve been seeing lately almost seem like solutions to problems developers have to make themselves.
We’ve talked a lot about how this era has been struggling to an extent to really define itself. Maybe it’s about the push and pull of intimate, obsessive detail versus broad kitchen sinks? This is super obtuse, I know, and a lot of this debate has been going on for a long time. But it kind of feels like this is one of the central themes of the past two or three years of games.
Jakeoti continued that thought:
Clothing does seem to be a focus. I always felt with last gen that there was a heavy emphasis on water; it felt like just about every big-budget game had a character wading through a waist high sewer/river/pond at some point. Cloth is probably a bit more challenging, since it has to look different and realistic as it goes through all the different environments. It also did have a strong start in the Xbox 360/PlayStation 3 generation, though. Journey‘s billowing scarf is iconic. The Assassin’s Creed characters are all united by that distinctive hood (a design so striking that Shigeru Miyamoto himself said that he would have loved to have been the one to have conceived it). During the pre-release hype cycle of Batman: Arkham Asylum, it felt like we were constantly reminded that Batman’s outfit, especially the cape, would suffer wear and tear as the player took beatings during the brutal night. Heck, even Nintendo’s most distinctive new game, Splatoon, is half-shooter, half-fashion show.
Girard agreed and recalled an example of what the lack of that fine detail can do to an HD game:
Attention to texture and detail (whether for realism or other aesthetic ends) is the sort of thing that has really made, and will make, HD gaming’s visuals work in a way they seemed to struggle to for a while.
I remember, when the first real HD console generation came out, watching friends play these new games and finding that they looked better to me on shitty interlaced SD TVs, which occluded the lack of detail in the visuals. For example, watching that PlayStation 3 Ghostbusters game on an SD screen looked semi-convincingly like an actual Ghostbusters TV special or something, while watching it on another friend’s large HDTV laid bare how plastic and artificial everything looked. It made the game look like some kind of uncanny plasticine nightmare—or a Robert Zemeckis motion-capture movie.