Reviews from

in the past


Anything in this game could be taken as a spoiler so you are best to go in fully blind. This a puzzle game from start to finish that will make you think about that is in front of you in what feels like an infinite number of ways sometimes. Look as little up as possible because it will take you away from what this is trying to accieve.

Objectively good, but damn I'm dumb.

Уникально по атмосфере, база жанра головоломок, mind-blowing то как раскрывается с определенного момента, однако местами чересчур душно, все еще точно стоит поиграть. Отдельно отмечу то как идея самообъясняющих правил игры пошла дальше в жанр и отразилась во многих играх, например Lingo и Dodo из того, во что я недавно играл.

The Witness Analysis
Spoilers

Concept
The Idea / The Epiphany
In a 2014 GDC talk, Yoko Taro discusses a scriptwriting technique he uses called backwards scriptwriting, which is the process of starting with the conclusion of the story and then creating a cause or reason. He also discusses starting with an emotion he wants to evoke from the player and writing the story and characters around that. This is similar to how the idea of The Witness came about, where Jonathan Blow started with the reaction of an epiphany and created the gameplay around that.

Jonathan Blow, following the release of his widely influential and catalytic indie game Braid, started development on a new game with an idea he had even before the development of Braid. Blow co-founded the Experimental Gameplay Workshop at GDC, and in a Noclip documentary, he discusses a project he made for this workshop. Inspired by games like Black & White and Arx Fatalis, which used gestural input to draw shapes and cast spells, he created a game where certain elements of the shape would control spell parameters, such as damage, range, hold time, tracking, and speed. He planned to have the player engage in combat by drawing these shapes which were more interesting to draw versus other games at the time, since the shape and spell could be different and altered every time. The player would learn new spells through normal game mechanics, such as books and NPCs; however, after the player climbs a mountain, they may or may not see that the path they just walked on is a spellcasting symbol. The player’s whole view of the world would change, as they realize that these symbols are all around them in the environment. This missable “eureka moment” is the foundation on which the game was created, and it was optimized to create “miniature epiphanies over and over again." Development began on this spellcasting game, but the team did not feel like the spellcasting was going to be executed well. Blow realized that he just needed any reason for the player to draw symbols and decided to create another puzzle game, The Witness.

The Inspiration
The Witness is a first-person, puzzle, non-linear, exploration game where you are tasked with the goal of solving puzzles on panels throughout an island. It was heavily inspired by Cyan Worlds’ games, specifically the Myst series. Although very different, similarities to this franchise can be seen throughout the entire game. The Witness was developed over the course of seven years by indie studio Thekla Inc., with a team made up of ten full time developers and eight others: Jonathan Blow as the lead designer/programmer, three programmers (Salvador Bel, Ignacio Castano, and Andrew Smith), three artists (Eric Anderson, Luis Antonio, and Orsolya Spanyol), and three architects/landscape architects (Deanna VanBuren, Digo Lima, and Nicolaus Wright). After investing $4 million of Blow’s own money made from Braid, he went into debt seeking additional funding, with total costs estimated at just under $6 million.

Introduction
The Vertical Slice / The Tutorial
The game begins in a dark tunnel, where the player can only move forward. A left analog stick or WASD icon will flash on the screen, showing the player how to move, although still non-verbally. After moving forward, they will encounter a panel puzzle of the simplest complexity with only one option of completion. The button to interact with the panel will also flash on the screen. These will be the only instructions given to the player for the entire game.This tunnel’s purpose is to give the player no freedom while teaching the player the controls, as well as give the player an idea of how the panels work.

After completion, a door is opened. Through this door is a stairwell with an exit to the outside. The first thing visible to the player is a mountain, which is the end goal of the game. Upon reaching the top of the stairwell, the first puzzle and the end goal are framed together. This outside area is small and closed off, giving the player more freedom, albeit limited. The exit of this starting area is blocked by an electric field. The panel to open this field is covered with bars that the player cannot draw through, teaching the player that physical objects in the game can obstruct panels.

The panels in the starting area slowly increase in complexity, with some panels giving the player options to start and end at multiple points. Completing these panels will open the bars, allowing the player to open the field and leave. After leaving the area, the path diverges to the left. If the player goes down this path, they are introduced to a large puzzle with two new symbols on it, which should be impossible for the player to solve. The player is forced to leave and return to the main path. There is an opening at a fallen wall, where the player can get their first real view of the island. In plain sight is an environmental puzzle; however, it is much too early for the player to form a connection with the panel puzzles and the shapes in the environment. After continuing on the path, they will encounter two types of puzzles, each with a symbol from the earlier puzzle. After completing these puzzles, the player will have the knowledge of how to complete the earlier puzzle. This design is able to teach the player about nonlinearity, and that it may be necessary to explore different areas before attempting the current area. This vertical slice shows the player the game mechanics and gives them a taste of most of the experiences the player will encounter for the rest of the game.

Gameplay
The Puzzles
Gameplay is made up of two types of puzzles: panel puzzles and the optional environmental puzzles. Panels are made up of a grid with a starting point (a circle) and an ending point (a rounded line). The player must draw a line along the grid lines, starting and ending at the designated points. For many of the puzzles, there are symbols in between the grid lines, each with their own rules. For puzzles without symbols, the environment must be used, such as light, shadow, sound, and objects in the world. For certain puzzles that have a set amount of solutions, there is also a system to disincentivize guessing; when the player enters an incorrect solution, the current panel becomes inactive and they must re-solve the last panel to reactivate it.

The puzzles are typically designed to appear to have an obvious solution, but that solution is not possible. In my opinion, this design makes for the best puzzles; the player understands everything in the puzzle and has an idea to solve it, but it doesn’t work, forcing the player to understand why it didn’t work and rethink the solution. This way, the player is always stumped, learning new concepts, and having epiphanies. Blow also states that “The clearer and simpler the puzzle is, the more beautiful and strong that feeling of epiphany can be.”

No Circles
Environmental puzzles are found in the world and follow the same rules as panel puzzles (the puzzle starts at a circle and ends at a rounded line). This concept poses a very unique and difficult challenge for the game design; there can be no unintentional circles. Their solution was to make all unintended circles and rounded edges into polygons.

The Game Design / The Gameplay Loop
There are 11 main areas in the game, each with their own theme and puzzle symbol or concept for the player to learn. Since the whole world is open to the player, excluding 2 endgame areas, progression is non-linear. The player can visit any area in the game at any time; however, certain areas will require that you’ve learned the concepts of other areas beforehand to complete them. This open world design also gives the player the freedom to leave a puzzle they’re stuck on and move to another area. This also means that the player will always have several puzzle options available to them, making it more likely for the player to make consistent progress.

When beginning an area, only one puzzle will be active for the player to interact with, and it will introduce a new symbol or idea for the player to learn. Because the game is nonverbal, it is up to the player to discern the rules of these symbols. There are two ways the game achieves this. The first is by making the starting puzzle of the simplest possible complexity with minimal options and slowly increasing the complexity. The player will be able to solve the first few puzzles unintentionally through trial and error. After having a set of solutions to examine, they will be able to formulate their own conclusions as to the rules of the symbols, similar to pattern understanding. The second is by making symbols which are violated by an incorrect solution flash red. Because of this, the player knows what specifically was wrong with their solution. Panels are connected by power cables, and completing a panel will cause the cable to light up and guide the player to the next panel. Completing all puzzles in an area will allow the player to activate a laser which points up towards a mountain, the final endgame area. This laser works similarly to the cables, both guiding the player to where they need to go. 8 lasers are needed to enter the mountain, while all 11 lasers are needed to enter a secret challenge area.

The End / The Challenge
Upon entering the mountain, everything you’ve learned is turned on its head; the environment shifts from nature to a completely artificial and clinical space, and the puzzles are now “broken” and introduce new concepts. There are TV screens piled up showing all areas in the world. Perhaps there is something deeper going on?

The player will make their way down three layers of the mountain and will reach a room with a door. This door has two panels with puzzles that are procedurally generated. The player must solve both of these panels in a set amount of time, or else the puzzle will reset with a new random puzzle, foreshadowing what is to come in the challenge area, which is hidden in this room. After opening these doors, a new type of edgeless panel is introduced – a cylinder. Upon completion, the player will reach an elevator. The elevator will fly them through the island as their work is reset, and a quote from the Diamond Sutra is spoken. The Diamond Sutra is a Mahayana Buddhist text that contains the discussion between the Buddha to his disciple Subhuti about the nature of reality, non-self, and emptiness. It’s the world oldest dated printed book, whose full Sanskrit title translates to “The Diamond That Cuts Through Illusion” or “The Perfection of Wisdom Text that Cuts Like a Thunderbolt.”

Bill Porter’s, whose pen name is Red Pine, complete Diamond Sutra quote translation is the following:
So you should view this fleeting world –
A star at dawn, a bubble in a stream,
A flash of lightning in a summer cloud,
A flickering lamp, a phantom, and a dream.

The first verse is not spoken in the game, perhaps to leave the ending more open to interpretation to players not familiar with the sutra. As “A bubble in a stream” is spoken, the player flies over the river. As “A flash of lightning in a summer cloud” is spoken, the player is looking at a gray storm cloud in the sky. As “A flickering lamp” is spoken, the player flies over a flickering lantern on the lake. As “A phantom” is spoken, the white electric field is reactivated. As “A dream” is spoken, the player is returned back to the starting tunnel as the screen darkens. Was it all a dream? Is it all a dream? The only thing not shown was a star…

This is a hint for the true ending. Additionally, the panel controlling the electric field is in a unique shape – a shape made up of diamonds. The player can also find a drawing of this diamond shaped panel later in the game that contains a solution to reactivate the bright field. This is another hint that the field has a purpose while active. As the player is sent back to the beginning, the player may be armed with the knowledge of environmental puzzles. If so, they may also understand that any circle in the world must be part of a puzzle. The player may notice that the force field keeping them in the starting area looks like an environmental puzzle. The field is currently only the line portion of the environmental puzzle, but where is the circle? The sun… the sun upon the player’s awakening… a star at dawn. Solving this environmental puzzle will lead to the true ending – a first-person FMV, where a person (who is actually Blow, but represents the player) wakes up after playtesting The Witness, and tries to use the knowledge gained from the game in the real world.

To enter the challenge area, the player must first activate all lasers in the game. Similar to the force field in the starting area, activating a laser will remove a bolt obstructing a panel at the top of the mountain. Removing all of the bolts opens a new solution for the panel, which will activate a panel in the room at the bottom of the mountain. Solving this panel will open a hidden door to the challenge area. The symbols on this panel are triangles (sets of one, two, or three). These symbols are scattered all about the island, which is different and more challenging than how the game presents all of the other types of puzzles.

Eventually the player will reach a record player. Activating it will start the challenge – a timed gauntlet of procedurally generated panels which the player must also solve under the pressure of the song “In The Hall of the Mountain King.” Pausing or tabbing out of the game will reset the challenge, and inputting an incorrect solution will deactivate the current panel and generate a new puzzle. I have heard some players call this the greatest boss fight of all time.

Visuals
The Art Style / The Graphics
Art styles and graphics are typically dictated by hardware limitations, development limitations, or the tone of the game, all of which are created with the goal of looking as appealing as possible while constrained by these limitations. While this was developed by a small indie team of at most 15 members, the low poly art style and minimalist color palette plays a vital role to the gameplay. Both of these characteristics facilitate the player in easily absorbing information and distinguishing the environmental and perspective puzzles. One of the artists, Luis Antonio (who is also the developer of Twelve Minutes), gave a GDC talk about the art of The Witness and has written and been interviewed about this topic several times. He states that Jonathan Blow had clear art goals early in the development to minimize the amount of visual noise, support gameplay, and be grounded in reality, but before the team decided on an art style, everything was incoherent and highly detailed. In a Game Developer article (formerly Gamasutra) he states, "What’s the minimum amount of information we can use to tell you what you need to know about an object? Use that, and no more. That's what I learned on The Witness." Another artist, Eric Anderson, stated that their goal was “to build a game world without unnecessary visual clutter. ‘Noise’ was [their] enemy.” It’s also interesting to note that the development team was composed of three architects/landscape architects.

Sound
The Sound Design / The Music
There is next to no music or sound effects in The Witness. Because sound effects and music are used sparingly, when they are heard, the player knows they have special meaning. The most prominent example being the audio-based puzzles found in the jungle area. Here the player must determine the pitch of birds chirping to solve the puzzles. Other examples can include using the player’s footsteps or dripping water as part of the puzzle. Dialogue is only found through optional audio and video logs, as well as the ending of the game. The information heard here all helps to contribute to the game’s theme.

Theme
The Meaning
The theme of the game is attempting to understand the world. To do this, one may also have to change their perspective and view the world differently. In this quest to understand the world and the universe, their understanding of reality may be completely altered. This theme is enforced through gameplay, audio and video logs, and the metanarrative. It is enforced through gameplay from both the panel and environmental puzzles.

The player tries to understand the logic of the panel puzzle symbols, and once they come to the realization that the puzzles they’ve been solving the whole game are all around them in the environment, their whole view of the world is changed. Hidden audio logs and FMV videos express differing ideologies of science, religion, and philosophy. One of the most impactful audio logs can be found on top of the mountain. The mountain is also the point at which it is most likely for the player to discover the environmental puzzles; Blow’s “mountain path” from his original idea is showcased here in the form of the river. There is also a canvas placed directly above the river with a line in the river’s shape for additional support.

After gaining a new point-of-view of the world from this vantage point and possibly from the environmental puzzles, a quote from astronaut Russell Schweickart can be heard that expresses his new view of the world from space.

Development / Conclusion
The Engine
Thekla created their own game engine in C++, which allowed them complete control over the development. Work on this engine was very demanding and made up a large portion of the total development time of the game. The team used Subversion for version control (specifically Tortoise SVN); however, they developed their own system to prevent conflicts which were constantly happening. “Originally, the game saved all entities into one file in a binary format. This is most efficient, CPU-performance-wise, and the natural thing that most performance-minded programmers would do first. Unfortunately, though, SVN can't make sense of such a file, so if two people make edits, even to disjoint parts of the world, SVN is likely to produce a conflict; once that happens, it's basically impossible to resolve the situation without throwing away someone's changes or taking drastic data recovery steps.” Their solution was to convert all entities into files. Files include the name of the entity, a unique ID, position, orientation, entity flags, entity name, group ID, mount parent ID, mount position, and mount orientation. To preserve the exact values of floating-point numbers, they stored the variables as hexadecimals. The engine would parse and load the tens of thousands of text files every time the game started up, which didn’t have a huge effect on performance for a game of this smaller scale. This change drastically improved workflow, prevented conflicts, and allowed for conflicts to be easily resolved. Blow states that “It would be difficult to overemphasize the robustness gained. I feel that these sentences do not quite convey the subtle magic; it feels a little like the state change when a material transitions from a liquid to a solid.” Dozens more articles about the engine written by Blow, Ignacio Castaño, and Casey Muratori can be found at http://the-witness.net/news/category/engine-tech/.

The Future
While programming The Witness’ engine, Blow grew to dislike C++ and felt that it had “reached critical complexity.” He has since been creating a new language meant as a C++ replacement with game programming as its focus. Blow has given many talks on this new language, with the first on September 17, 2014. Some of the core principles of this language (codenamed JAI) are high performance, joy of programming, simplicity, low friction, designed for good programmers, and full compile-time execution. In 2017, Blow demonstrated a non-optimized compiler doing a full rebuild with an estimated 104,000 lines per second. In 2018, Blow demonstrated his next game with 80,000 lines of code (equivalent to approximately 110,000 lines of C++) compiling in 1-1.5 seconds. With this new language, the team is writing a new compiler, game engine, and game. By working on all of these projects concurrently, they are able to test and improve the language. Apart from Blow’s next Sokoban-style game, he is also working on a 20 year long project which he began in 2012 or 2013. He is rewriting it in Jai, and it will be released in installments, with each new iteration being an elaboration “on the same game over the course of 20 years, making it bigger and bigger and more complex.”

Imagine being the kind of guy who is so profoundly embarrassing that people who love your puzzle video game are ashamed of admitting it.


cool puzzle game, nice chill vibes

I can tell this game wasn’t made for me, aka it wasn’t made for dumbasses.

The following is my second review of the game, written on May 4th, 2024. My original review was written on the 1st and is available here.

The Witness is a fantastic game; I would really have no qualms about ending the review there. It uses a beautiful mesh of realism and painterly impressionism to make a beautiful world whose sense of exploration and wonder is perfectly in line with the great litany of things to be found, from a great many little secret and clever detail which reward the careful eye, to the hundreds of line puzzles throughout.

Despite the quantity of the puzzles throughout, almost each and every one of them serves some purpose. From teaching you a mechanical consequence to simply opening a door, each puzzle's completion is its own reward, bringing you step by step closer to enlightenment.

I'm being vague on purpose because as a puzzle game - a very, very good puzzle game - The Witness' every moment is that of beautiful, resonant revelation between utterly brain-bending trials. A lesser game would provide hints, background music, anything to latch onto, but The Witness leaves you completely and utterly to your own devices and is such very much susceptible to being spoiled and very much is best experienced as blind as can be. I'm going to intermittently talk about a few significant spoilers, which should not be read the prospective Witness player. If I've sold you on this game, please enjoy!

However, it's not perfect; I have a few gripes, really the tiniest of nitpicks on what was otherwise an amazing game I could happily recommend to any puzzle fan.

1. When you have a puzzle selected, there's often something dinging. Either the beginning circle or the endpoints of the puzzle - which the game elegantly and wordlessly teaches the importance of to the player - are constantly blinking, with a visual and auditory cue. For a game that relishes in giving you the time and mental space to think things out, a tiny mistake like this really feels like a bullet.

2. Some puzzles, upon failure, deactivate. This makes it so you have to go back and re-enter the solution (which is typically pretty easy to remember but does disappear as you re-interact with a given puzzle panel) to the previous panel in a sequence - a feature which is never telegraphed to the player (though even if it was it would be just as unpleasant). The Witness as a game, other than this one quirk, can really pride itself on its terseness of concept so again it is a shame to see something like this bubble up through. Solving a puzzle in this game is a communication of understanding, having to repeat it again mindlessly in some arbitrary rite of passage to retry the current puzzle is, even if a very short inconvenience when it does happen, a baffling blunder from a game like this.

3. There shouldn't be a sprint button. The obvious response is "Well, why don't you just not sprint? but at the end of the day the purpose of a system is what it does; and a sprint, naturally, encourages sprinting; every second spent walking is a moment which could have been spent sprinting, which is a recipe for madness. At least to me, something like that communicates a lack of trust in the game environment to a) be beautiful and b) communicate priorities and paths to the player.

The obvious exception to this is the challenge (which is fantastic by the way; I'm not sure I've ever truly comprehended the heart-stopping terror of In the Hall of the Mountain King until I played this game), to the point that I'm convinced that a sprint was added with the express purpose of being used in the challenge, just kind of being this odd vestigial growth for the rest of the game during which you, very notably, never need to and shouldn't move that fast. Especially for noticing the puzzles hidden in the map; the mix of boredom and wonder of an aimless walk throughout the island is very sufficient fuel to find a very large chunk of these.

Especially given the extra shortcuts and movement options the game grants you pretty early on and only expands on as you progress, having a sprint on top of that just feels overkill to me.

4. Obtaining the secret ending, the one with the hotel and the credits and the real-life video, is a bit odd. I'm going to have to talk a lot more about the game a bit more holistically to describe what I mean.

The Witness, to me, feels like an allegory for the Buddhist concept of enlightenment. As the game approaches its end and you enter the mountain which has been ominously looming over the island and attracting the lights of lasers, you begin to get the sense that this is all a test of sorts. A few nuggets that hint toward this appear throughout the island; recurring symbols, sketches of buildings and puzzles, but here it goes mask-off. Various security monitors show parts of the island, and malfunctioning and rejected puzzles are strewn about the various laboratory-like rooms of the mountain. And yet even these lead you deeper and deeper down the mountain, culminating in an elevator chamber which flies you to the beginning of the game, losing all your control as all your puzzles become undone and culminating in the game itself closing. When you re-open the game you are as you would be if you had never played the game at all, at the start of the very first hallway with no progress in the island to speak of.

This to me feels like a death and rebirth of the player character. Though the puzzles are in the same deactivated state as they were when you first downloaded the game, your knowledge and intuition of the game persists; if you started from scratch you would absolutely finish far quicker than your first attempt. However, the secret ending is not about progressing; rather it is about finding an environmental puzzle using the sun - the most significant circle in the game, one which looms over you for the entire time - thus activating a hotel lounge, which a straight walk forward through brings you to the secret ending. In this secret ending a human wakes up from some kind of virtual simulation and walks around the real studio in which The Witness was developed, utterly transfixed on patterns of lines and circles. This feeling was completely and utterly relatable, that tiny worm that The Witness grows in your brain for seeing circles connected to lines very well might be the game's most profound export.

However, the secret ending does not follow this exact sequence.

What I believe is the intended route to the secret ending revolves around a room, hidden behind activating all 11 lasers (of which only 7 of one's own choice are required to beat the game) and the optional challenge (which, amidst all this negative babble, I feel inclined to mention again is AMAZING). In this room is a puzzle solution which, when put into a certain panel in the starting section, re-seals the door making the sun puzzle, previously blocked off by forward progression, once again possible. I realize this is the tiniest of nitpicks, but the whole beauty of the secret ending, to me, is that voluntary relinquishing of all puzzle progress, is that metaphorical acceptance of one's own death to reach enlightenment! Being able to get this ending while having all your pretty puzzle panels lit up, while still indulging oneself in the samsara of the game world, feels so thematically incoherent to me! Of course, this is the most minute of nitpicks, but finding flaws in a game as pleasant and absorbing in this is like finding needles in a haystack, exclusively by having them prick your fingers.

If you read through all that, thank you! I have not tried to articulate my thoughts about The Witness very much at all, so actually putting the experience of this game that has utterly entranced me is always nice - like a release valve in my brain. I do want to revisit it someday, but for now I think I've earned a break.

If you just scrolled to the bottom and haven't played it, go away!! Play The Witness!!

Este juego me ha demostrado que las neuronas se me conectan lo justo para mantenerme con vida.

This game clicked on me SO hard. I could not play anything else until I finished it 99.99%. It's not for everyone, but for me is a masterpiece.

There's a puzzle in this game so comically difficult that it took me like eight hours of solid retries to get it done and then once I'd done it and got the platinum I got a message on PSN from someone asking me to do it again on their account for them and they'd pay me the princely sum of $5 and needless to say I did not do it.

Created by Jonathan Blow who ought to blow his fucking head off with how boring this game is.

A puzzle game, it teaches you how do do all the puzzles with no dialog. It was at it's best when the puzzles took advantage of the 3d space rather than just being a line puzzle. By the end of the game I would forget how different line puzzle rules worked and have to relearn them. Fun but best with a guide nearby to get unstuck when that happens. I was ready to be done with the game before it was over but not by to much. The envirements where very nice and calming.

The Witness is a devilishly simple game. Taking place on a luscious, deserted island, you're tasked with exploring and solving a seemingly never-ending series of maze-like panel puzzles where the goal is simply to draw a line from A to B, meeting certain criteria in the process. The premise is simple and it's addictively fun.

Crucially, none of the puzzle parameters are ever explained. It's entirely on you to play around and make sense of the increasingly complicated mechanics, sometimes through sheer brute force as you try possible solution after possible solution. That is, though, what makes The Witness so fulfilling to play; that feeling of discovery and conquest feels totally earned when you find and finish a new area of puzzles without any help from the game whatsoever.

Not every mechanic works though. Most are based on logical thinking (like drawing a line from A to B while dividing squares by colour, for example) but there's a string of sound-based puzzles where you have to interpret bird calls and map them to a route through puzzle panels. I found these sections to be a nightmare but they didn't ruin the game.

For context, I actually played The Witness as a couch co-op game. Me and my best friend threw out possible solutions to each other, scrawling out the puzzles madly with paper and pencils. I think it's probably the best way to play and experience the game because it makes those 'Eureka!' moments, where you finally crack a tricky puzzle, all the more satisfying because you've got someone to share the victory with.

This is the game that made me realize I don't like puzzle games. I remember loving some locations like the greenhouse or the castle with all the mazes because the puzzles were so creative, but I also hated many of them (the swamp, the treehouses, the jungle) for either being trial and error or dragging for way too long. I really wanted to love this game but after a while the gameplay is reduced to staring at your screen looking at all the bullshit and trying to make something out of it. The world is very pretty, the sound design is also very good, but honestly overall it was a tiring experience.

Id rather get my dick shot off by a 50cal than play this game ever again

muito muito muito muito muito divertido mesmo

"Treats your time as precious" my ass.
The world is pretty I guess idk.

Too much lateral thinking in this bitch for me. It is a very beautiful game thou. Maybe one day I'll come back to it but I think it's too much for me to handle.

Clase maestra de diseño de puzles. Sin embargo, a veces obtuso en demasía, hay que saber cuándo facilitar las cosas un poco. Pero esa es la gracia del juego un poco también

Jonathan Blow se masturbando na frente do espelho só que num jogo de puzzle que se esforça pra dizer alguma coisa e no fim só é pedante e tedioso

garbage swill made by a hack

I don't get this game. It seems to have an interesting and intricate complexity that surrounds and connects the world; but you definitely don't get to see or appreciate that for the maybe half of the game?

I've tried to complete this game like 3 times already and I only find it to be boring, slow, and frustrating. Most things are not explained in this game, and I get that there are people who enjoy that, but I don't. Most of the time you can't tell if your solution is wrong or if your logic about is, also it can get tricky to differentiate what is and enviormental clue and what isn't. I usually would end up just looking for the solution online, and is not something that you want for a puzzle game.

On the bright sight, the game is stupidly beautiful, if the game was a walking simulator with your typical story about depression I would've enjoy it just for how pretty it is.

Conclusion? Go watch a video essay about it.

que experience boa veii era tao gratificante completar uma área nesse jogo que meu deus parecia que eu tinha passado no enem(tirando a parte dos blocos de tetris que era apenas tortura) confesso que não tive QI pra fazer TODOS os puzzles sozinho mas me esforcei! completei 2 finais e não fiz TODOS os puzzles mas tudo que fiz achei genial e muito bem pensado! gostei muito dos vídeos/diálogos que encontrei ao longo do jogo me fizeram refletir bastante.. enfim curti!


I don’t mean to be that guy but god this game is so fucking boring. And not just in gameplay, the ideas it reaches for are just so shallow. Definition of wide as the ocean but deep as a puddle. Only reason it isn’t half a star is because it looks pretty nice. Wow witness. Real high bar.

Faut être diplômé d'un master pour finir ce jeu.

Yeah, I witnessed my own stupidity alright