Tag Archives: myst

The Witness: A (Cheater’s) Review

IMG_1272It started by “stumbling” across discussions about the game, convincing myself that I was listening to the Idle Thumbs podcast because I felt that it warrants my attention (true); not because The Witness was mentioned during a particular episode (false). Or because I hadn’t listened to IGN’s Game Scoop in months, missing a show that hooked me on video game related podcasts (true); not because The Witness was mentioned in a particular episode‘s show notes (false).

Like many growing up in the late ’80s, early ’90s, I was a fan of Myst. The game took the adult world by storm and after my father and step-father both began discussing its puzzles with me, I felt I had something to offer these grown humans. I spent large swaths of time on a mysterious island, solving puzzles and eventually pouring over a strategy guide; a “book” I later convinced my 2nd grade teacher would serve well for a book report.

And boy, do I love The Witness. To a point.

You know, the thing about Braid: I loved it, I loved the atmosphere, I loved the visions, the softness of it. It kind of felt like a piece of silk you could run your hands through. It was a lovely, lovely game. But here’s the thing that didn’t work for me: It got so tough that my need and want to experience more of its world was absolutely challenged by my feeling that I wasn’t clever enough. I kept going back to find out more about the world, feeling more and more stupid. After a while, I thought, This game is dumb. Now I think I was wrong, by the way.

– Peter Molyneux, in an interview with Tom Bissell, Extra Lives

I’m sure I underestimate myself by thinking I would have never completed the game without a guide. The game thrives on the notion of beating the player down only to let them realize they could find the solution all along. There were plenty of times when I pondered giving up, only to persevere and surprise myself the following day. But after 215 puzzles and frustrating “Tetris” logic, enough was enough.

After weeks of setting the game aside for Firewatch, Tom Bissell’s “Extra Lives”, and Veep, the allure and curiosity of The Witness wore off. I was no longer itching to out-do myself. I just needed to know what the The Witness would amount to. Was the experience worth it?

Many reviewers point to discovery and breakthrough as the reward. That once the player is spoiled with hints, the spell is broken. While those moments of besting oneself are certainly empowering, I found cheating my way through the second-half to be enjoyable as well.

I was able to appreciate the full genius behind the game. Had I spent 20-100 hours attempting to slog through the insanely brilliant puzzles for weeks, months or years, there was still no certainty I’d finish the game. By cheating my way through The Witness, I was able to see and appreciate all of the ludacris and awe-inspiring puzzles throughout.

I don’t want to invest in a game that I’m going to put 200 hours in because I’m never going to put 200 or 100 or 50 or 20 hours into a game. I’m just not going to do it. But something like this, which is substantial to me, it’s longer than a movie but it doesn’t become a lifestyle either.

– Jason Snell on Firewatch, The Incomparable podcast, episode 290

It’s very hard for me to spend 20 hours let alone 200 on a single game, as clearly evidenced by my quick drop off from games like Skyrim and Grand Theft Auto IV. Sure, I’m attempting to play through the entire Final Fantasy series, but it’s a repetitive mobile effort that I dip into for 20 minutes at a time. (You’re not missing much of a story in the first Final Fantasy to warrant consecutive hours of play.)

Lastly, experiencing The Witness‘s devilish penultimate puzzle — two randomly generated, timed mazes of mixed logic intended to thwart cheaters — was a welcome surprise. As I closed in on the end of the walkthough, I was stopped dead in my tracks by a puzzle that could not be documented or shared. I was forced to figure this one out on my own. It certainly wasn’t the most difficult puzzle in the game, but it’s a puzzle that could only be appreciated (and likely solved) by someone who had learned enough to stretch their rusty two-week-old Witness muscles.

Oh, what a frustrating ordeal the penultimate puzzle must be for those who had decided to cheat their way though the entirety of the game; stopped short of victory at the 1-yard line. It would have been easy to overlook adding this trick, but is a perfect fit for a game that prides itself on using assumption to shoot-down the player’s knowledge. (Hats off, Team Thekla!)

The penultimate puzzle alone leads me to believe that Jonathan Blow and his team wanted a community to blossom, sharing hints, tips, and solutions across the global community. Why else would there be only one randomly generated puzzle? It suddenly made me feel less guilty for succumbing to a walkthrough.

Do I feel cheating spoiled the game for me? Absolutely not. That said, I strongly advise pushing oneself to the brink of insanity, solve the puzzle that brought you there, then do it a few more times. Understand the language of the puzzles. Only then will it be rewarding to experience the building of The Mountain, the final tricks, the puzzles within puzzles, and the tightly woven secret of the island. Only then will the player truly understand the frustrating brilliance of The Witness‘s final puzzle.

Blow and the Thekla team put together an experience that will be talked about for years to come. And they took a very high risk placing the final puzzle where they had. The spiraling essence of zooming out to see the whole connected thought is a lovely thing. So much so that the idea that The Witness has players seeing puzzles in the real-world is completely legitimized.

Sure, all of this could have been said from a player who finished the game without cheating, and likely with greater appreciation and satisfaction. But I know I ended up a whole lot less frustrated yet still deeply satisfied.

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Myst TV Drama and Companion Video Game

Deadline:

“Cyan’s goal in working with Legendary is not just to create a compelling TV drama but to develop a true transmedia product that will include a companion video game that extends the story across both media,” the company said. “Seventy percent of tablet owners use their device while watching TV at least several times a week. Cyan sees the potential to push the boundaries of interactive storytelling to a new level.”

Seems like good timing with the return of Twin Peaks and the nostalgia surrounding the LOST 10 year anniversary.

That said, I don’t feel the second-screen experience has been the revolution that hopefuls (HBO, etc.) had cracked it up to be. I have a difficult time pulling myself away from a good story to send an email, text, or surf the web. I have a hard time believe that “70 percent” is enjoying good TV. While a new Myst companion game sounds enticing, I have extreme reservations that I’ll be able to enjoy a world as rich and mysterious as Myst simultaneously on TV and iPad. The best I can picture is a children’s TV-esque situation where the actors on-screen “wait” for you to complete a puzzle before proceeding.

On the other hand, I love Myst and have very vivid memories of talking through the games with both my step-father at home and father 400 miles away. I enjoyed the game so much that I convinced my grade-school teach to allow me to write a book report based in the strategy guide. Needless to say, I’ll be tuning in.

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Mobile is burning, and free-to-play binds the hands of devs who want to help

Mobile is burning, and free-to-play binds the hands of devs who want to help

Barry Meade of Fireproof Games writing for Polygon:

In 2013 mobile games made over $10 billion globally and allegedly this is great. $10 billion sounds a lot, it is a lot, but the makers of Candy Crush alone took almost $2 billion. Throw in the top ten and there’s most of your games market gone; hoovered up by ten cute grinding games that are clones of each other. Any remaining change from that money is scraped off the table and scattered across a games industry trying to service a billion devices.

A 2 percent “engaged’ audience does not seem towering in achievement for a creative industry that looks to draw its players into new experiences. We’re living in a world where Netflix’s content inspires hysteria in grown adults, so is mobile gaming really in the same league when 98 percent of its gamers spend more on pencil sharpeners than games made by our billion-dollar leaders?

In my experience, The Room sparks the same water-cooler conversations for non-gamers that Myst did. It appears Monument Valley is doing the same, as experienced with my non-gaming colleagues. I think “the binge” has hindered the TV water-cooler conversation now that everyone is on their own schedule. Delivery of challenging and original yet “polished” and “possible” experiences can bring back the general audience gaming conversations we had on the playground.

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