Episode 3 is up! I’m planning to step up the pace on these massively, far beyond the one-dropping-per-month rate I’ve been going at so far. Hoping to get 3 more posted by the end of the year. Script below the jump.
This past March, at SCMS, I walked out on a paper being delivered by Oscar Moralde on The Witness (Thekla, Inc, 2016). I did so not out of disinterest. (I’ve enjoyed Moralde’s papers in the past.) Nor did I do so out of rudeness. Rather, I did it because of spoilers. Moralde was kind enough to warn ahead of time that his paper would spoil a small portion of the joy of teasing out the behaviors of The Witness’ world, and advised those who hadn’t played it to leave, lest they deny themselves a rich intellectual—and some would even say emotional—experience of personal discovery. And, in my eternal shame, as of March of 2017, I still had not played The Witness. Even though it had been sitting right there in my Steam library for months. (Ashlyn Sparrow and Whitney Pow can attest to the truth of this story.)
Moralde’s paper was a wake-up call to me that I needed to get better about my gaming backlog, if for none other than purely academic reasons. And I think I’ve done a pretty good job of keeping up on things in real-time since that moment. (I played Tacoma, already!) I offer this story, though, not (strictly) as a chance to to advertise my newfound dedication to keeping up with recent releases, but also as a warning. Basically, the heads-up Moralde offered in front of his talk also applies here. The pleasures of The Witness are the pleasures of discovering puzzle mechanics, and you will deny yourself a small portion of those if you watch this new video essay I’ve whipped together.
That said, if you don’t mind spoiling such things, or if you’ve played The Witness already, go ahead and dash right in. This video is considerably shorter and more focused than my previous experiments in the “Let’s Study” format. It focuses on the pedagogical aspects of the game’s puzzle design, in particular its fondness for safe failure. Whether it’s encouraging assumptions about its mechanics that quickly get proved wrong, or setting up perceptual bad habits only to nip them in the bud, Jonathan Blow’s puzzle design in the best portions of The Witness front-load failure, so as to hammer home lessons. I hope you enjoy my short tour through this technique!
As before, a full transcript of my narration is below the fold. (I’d love to eventually add these as subtitles to the YouTube upload for accessibility reasons, but that is beyond my abilities, at the moment.)
When you first start playing Eli Piilonen’s The Company of Myself (2DArray, 2009), it feels as if someone found a way to perfectly weld together a diary entry with a puzzle platformer. This was back in the heady days in the wake of Jonathan Blow’s Braid (Number None, 2008), when the public at large was still reeling over the idea that puzzle mechanics could mean something. And, at first glance, The Company of Myself seems to take this trend and go somewhere quite confessional with it. Its central mechanic of cloning yourself to solve puzzles stood as a perfect expression of feelings of self-reliance. And not just any self-reliance, either, but rather that specifically incorrigible mode of self-reliance that emerges when one is a bit too much of an unreconstructed introvert, refusing even the most basic forms of assistance because you desperately wish to not bother, or to be bothered by, anybody.
The “cloning” mechanic has popped up elsewhere in games—for instance The Misadventures of P.B. Winterbottom (The Odd Gentleman, 2010)—but The Company of Myself was more ambitious, wedding the mechanic with a personal story of interior life. Or, at least, it seems to do this, until you realize the whole thing is bullshit. The story takes an eleventh-hour delve into the lurid, revealing itself as an over-the-top fiction, rather than a form of sincere self-expression on the part of its creator.
The Company of Myself takes the easy way out, tacking on an over-dramatic denouement that destroys its potential as a diary-game. But … what if it didn’t? Could one actually use puzzles to communicate the intricacies of internal lived experience, in an emotionally sincere way? In this entry, I’ll be looking at two games that try: Liz Ryerson’s intimate and beguiling Problem Attic (2013), and Atrax Media’s more slick and straightforward Sym (2015). Along the way, I’ll also be dipping a bit into Braid, just because it’s hard to talk about contemporary puzzle platformers without doing so.
Liz Ryerson’s Problem Attic (2013) is a classic of the personal games movement. It is also notoriously difficult, for a number of overlapping reasons. I have come to realize that there are no real walkthroughs of it online, to help players that might be interested in examining Ryerson’s game and seriously considering its themes, but simply cannot get through an especially tricky area without help. I have decided to rectify this, before I teach the game for a class.
If you are looking for pedagogical notes or analysis, be forewarned: there will be none of that in in this post. This is a walkthrough, pure and simple. I’m planning on posting something more genuinely analytical on this game in the weeks ahead, but first I thought I’d do the world a public service. (If only making walkthroughs was something one could put on a CV…)