Since its release in August 2013, the critically acclaimed exploration game Gone Home has been mired in controversy, with politicized debates centering on its status as a game as well as on the much-lauded coming out narrative at its center. This article uses the varied response to Gone Home’s narrative and mechanical structures as an opportunity to reframe the discussion around the game in terms of how it invites players to engage with the objects and temporalities that compose its environment or, more specifically, its archive. Drawing from queer theory, historiography, and game studies, I argue that although Gone Home gestures toward the radical potential of archives, it ultimately undermines this potential by adhering to design conventions grounded in normative and normalizing logics. Through this analysis, I also suggest ways in which digital games can help us think through the politics of archives and of queerness as a historiographical method.