also this interview by Devon Z with Jon Blow <htt...
# linking-together
s
also this interview by Devon Z with Jon Blow https://www.notion.so/blog/jonathan-blow
πŸ‘ 3
b
has anyone played braid and/or the witness? did you find it mind expanding? i'm curious
(having never tried either)
s
I’ve played both and found both pretty interesting
I play a lot of video games in general and both of these games are in a small niche of games that really try to get you thinking. They also tap into what’s great / native about the medium -- e.g. puzzles as constructivist learning devices I’ve personally never understood why most games focus on things like story, movies / books IMO are way better at linear story telling (I know some games do nonlinear stuff which is more interesting at least / unique to the games medium!)
πŸ‘ 1
πŸ™ 1
but neither of his games are β€œfun” in the traditional sense (I play some of those FPS games that are more couch-relaxation types).
i
I would say that I found both Braid and The Witness "fun" in the traditional sense of the word, but that's a matter of taste for sure. They're both overwrought labours of love, and they're both worth playing, even just for 30 minutes apiece. They are exemplary at teaching complex system dynamics through interactivity (something very relevant to our community).
πŸ‘ 1
As for "mind-expanding" β€” again, very subjective β€” I felt that about Braid more than The Witness, but Braid came out at a time when the definition of "game" was much more restrictive than it is now and did a lot to push that definition. (I also have some headcanon about Braid's secret ending actually being about Blow's personal discovery of the concept for Braid and the ramifications thereof in terms of his life and career, and that makes the game more "interesting" to me as a fellow creator, but I digress.)
Much like a good piece of experimental cinema (or psychotropics, or what have you), what you get out of the experience will be colored a lot by what you expect to get out of it, what cultural context you're in, your preexisting familiarity with the thing, and so forth. So you might "get more" out of Journey, or Antichamber, or Passage, or What Remains of Edith Finch, or The Beginner's Guide, if you haven't heard anything about those games but have heard a lot about Blow's games and are just broadly interested in seeing what video games have to offer as a medium for conveying new kinds of narrative / experience.
πŸ‘ 1
a
I played The Witness a little. What excites me about this game besides just plain beautiful art-style, thought and polish is respect it pays to the player. The game considers you, the player, smart, independent and curious so it doesn't guide you by your hand but just presents you pretty much all of it as it is and trusts you to figure out everything you need and want to by yourself.
πŸ‘ 1
i
Since @Alex Chichigin smartly gestured toward Blow's remark that The Witness respects the player's time β€” this video is an excellent critique of the game, addressing that remark especially:

https://www.youtube.com/watch?v=KZokQov_aH0β–Ύ

. It's no-holds-barred on spoilers, but it's also not nearly as interesting if you haven't played the game enough to form a good sense of it, so it's going to be most relevant to the non-Breck folks in this thread.
πŸ‘ 1
a
Thanks @Ivan Reese that's very interesting, I'll watch it!
Though I don't think about it or feel it in terms of "player's time", but I felt kind of respect to my intellect from the game. In particular I was surprised and excited there's no tutorial text anywhere in the game. And really no guidance. I feel all the discoveries as my own. Even if I was nudged toward them by overall game design. πŸ™‚
πŸ‘ 1