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The offline cache can be cleared for each site separately using the "Remove..." button in Tools -> Options -> Advanced -> Network -> Offline data.https://developer.mozilla.org/en-US/docs/Web/HTML/Using_the_application_cache
Open the AppCache Internals page of Chrome (chrome://appcache-internals/) and delete your app. The complete local storage will be wiped for that app.http://stackoverflow.com/questions/17960543/how-to-clear-application-cache-in-chrome-on-ipad
But let's put this elephant in the room into the corner, at least for the moment. Can systems do a better job of storytelling than crafted content? Historically, no, and while we certainly shouldn't use that as evidence that there's no point trying, it's hard to see how any technology short of a magic futuristic AI will be able to beat the problems they demonstrate. The first of those is that any story, any setting, any characters, and any mechanic gets old fast, as indeed seen by Levine's own BioShock. The first presented us with one of gaming's most imaginative, best realised locations, only to have fans yawn at the idea of returning to it for BioShock 2.
There are certainly systemic games that can keep people's interest in the long run, but at most they sprinkle bits of lore and a premise into their worlds and focus on being a stage for stories rather than actually trying to tell one. When they try, we get MadLibs, with the resulting stories passing muster because either everyone is meant to be impressed by too the technological achievement to spot the lack of fun - Skyrim's Radiant AI for instance, or the older AI-driven adventure Sentient - or the effect is entirely reliant on the atmosphere. Spy games Sid Meier's Covert Action and Floor 13 spring to mind as short-lived successes. Once the 'I am a ruthless secret agent' vibe fades though, everything is quickly laid bare. As humans or human-like infiltrators from the planet Zorgoth as the case may be, we're fantastically good at spotting patterns and figuring ways to use and abuse them, even at the cost of our own fun.
The problem, according to Crawford, is that video games are, from the most expensive blockbuster shooting game to the humblest text adventure, fundamentally about spatial reasoning, not social reasoning.
With XCOM: Enemy Unknown, the development team saw the game as a platform for players to create their own stories -- they wanted to encourage an internal narrative to unfold each time they play.
[...]
Games like The Elder Scrolls series also support emergent narratives; DeAngelis remembers a moment in his experience of The Elder Scrolls III: Morrowind that affected him so profoundly he wrote about it in grad school: Short on cash, he was looting a regal armoire when he realized he wasn't alone in the room. He had to make quick work of the resident, but managed not to alert any guards.
"As I took his items, I discovered that he was a well-known aristocrat in the town," he describes. "I changed costumes and slowly made my way to the overworld, praying I could escape before anyone noticed. I was a dozen yards from the exit, when a guard made a beeline for me, sword still sheathed. He confronted me and whispered 'I've got my eye on you'... then he walked away."
Guards used random lines on players all the time in Morrowind. "In fact, they probably said that particular line to me before for no particular reason other than to sound dutiful, but because of the mini-narrative I was weaving in my head, that line of dialogue, at that exact moment, had an enormous impact on my experience," DeAngelis recalls.
http://www.gamasutra.com/view/news/178600/
