A Game Changer

Recently I finished and talked about Braid. The ending got me thinking about how we view games, and what we come to expect from them. A fresh player, having no prior knowledge of Braid would go in to the game thinking "Yes, of course I'm going to save the princess at the end, because that's what the story is setting up for me". That feeling would be reinforced at the end of the first (or rather second) world, where they are told that "The Princess is in another castle". "Ah ha, just a little homage to the Mario games, frustrating me a little, only to make the reward greater when I actually find her later - a little clichéd, but I'll allow it".

The entire perception of the game shatters right at the last instant though, due to a seemingly simple, yet world-changing plot point. You're not trying to save the Princess, in fact she needs saving from you. It's not very often that we don't get a "happily ever after" ending, which makes sense, that sort of climax is tried and tested, but it's nice when we get something a little different from the norm. That's not to say I want more unexpected endings either, the industry would eventually just become a big parody of itself to the point where a plot meeting would result in someone saying "Hey, why not this time, have the good guy win at the end for a change?" That's not what anyone wants, but it's not just endings that could benefit from a little variety.

Take Spec Ops: The Line for instance. It's a standard third person cover based shooter game with squad control mechanics. It received average reviews, but there was one thing that the critics all pointed out as a highlight - the unexpected story twists. "The white phosphorous mission" became almost instantly infamous and controversial. The scene sees the player equipped with a mortar and is shown small white dots which are the targets to be blown up. Yeah, you've seen this before right? In the AC-130 sections of the Call of Duty Games. Perhaps that's the point. In those games you blow everyone up, they might be trying to escape, but they're still terrorists and they've still got guns which they're probably going to use to slaughter innocent people. So in Spec Ops, that's what you do, you blast those white dots to hell. But what if those white dots were innocent people? That's what Spec Ops: The Line explores, and it's not until later that you find out that you've accidentally murdered defenceless men, women and children. It's not a moral choice you're given in the game, it's just something you did, and it's up to you whether you can live with that or not. CoD explored a controversial moment with the airport massacre, although it lacked subtlety. "Hey guys your character is going to go in and shoot up this airport full of civilians - isn't that extreme and controversial?!"

So those are examples of unexpected plot twists and game moments, but what about a game that utterly changes in what it's asking you to do? Fez starts out as yet another indie platforming game with a twist. You are the only person in the cute little world that can perceive a third dimension, which opens up interesting puzzles involving multiple planes. It's not especially difficult, and you can reach the end of the game without much difficulty. But the end of the game is where the real game begins. It almost becomes a cryptanalysis game, needing you to solve an entirely made up language along with dealing with other entirely new puzzle mechanics. No mention was made of this before the game's release, and it's possible to 'complete' the game without ever encountering any of the new stuff. When people did find out this unbelievable amount of hidden depth, there was a certain amount of shock.

There are games out there trying to be different and add a little something to the industry, they just need to be praised more for what they are doing. Do this enough and hopefully developers will sit up and take notice - "People actually care about games and aren't just buying them to give us bucketloads of money? I suppose we'd better give something back to them, then."

Catching Up - Braid and Amnesia: The Dark Descent

A while back that ridiculous Humble Indie Bundle came out with pretty much every good game ever. Even though I already owned several of the games, I bought it anyway, gifted away my duplicates and set to playing two games I should have played already, but never got round to - Braid and Amnesia: The Dark Descent. Spoilers await below.


Braid
Last night at around 2:30am I completed Braid.

I'd like to point out that I actually aided a friend in the completion of the game around the time of release on Xbox Live Arcade back in 2008, so I was up to date on the story, but enough time had passed for me to have no advantage when attempting the puzzles.

But, as those of you who have finished the game will know, Braid isn't about the puzzles. If you are under the impression that it's a quaint little indie Mario-style game with time bending mechanics then I'm afraid you've been horribly misled. I watched Indie Game: The Movie a few weeks ago (something which I would recommend to anyone at all interested in the industry), and learned that Jonathan Blow, the maker of the game actually slipped into depression not long after Braid was released. To an outsider, this would seem utterly ridiculous. The game is the highest rated title on XBLA ever, was the second highest selling game on the service in 2008, and made Blow very rich, very quickly. To him, people were enjoying the puzzles, and that was fine, they just weren't "getting" it. The philosophical and highly mature side of the story only reveals itself fully if you complete the entire game, and that is what a lot of people were missing.

As I say, I knew prior to last night's completion what happened at the end of the game, and I remembered the final level fairly vividly. It speaks to the game's quality that I remember this almost four years after its release, and yet I can't really remember much of what happened in Max Payne 3 which I played and reviewed about two months ago.

Braid is a simple story about Tim, a guy who is trying to save his Princess from an evil monster. To do this he has to solve puzzles while manipulating time. But the thing about time in Braid is that it isn't linear, and it certainly isn't simple. Not only does that relate to the puzzles, but also to the story itself. The final level in the game takes place in World 1. The level begins and Tim sees the evil Knight holding on to the Princess whilst holding onto a vine hanging down from above.

"I got you!" He sneers.

But the Princess manages to escape his clutches and jump up to a ledge above him.

"Get down here!" He shouts after her.

"Help!" She cries out to Tim who is watching all of this from below.

Just then a wall of flame erupts from the left side of the screen, engulfing everything in its path. Tim runs to the right in the lower section of the level, with the Princess above him, and they aid each other by pulling levers and lowering ladders to help each other escape their impending doom.

Tim finally reaches a ladder, and climbs up to his Princess who is on the other side of some glass. And then, whiteness.

The princess is asleep in the room behind the glass, and Tim can't reach her. The only thing that can be done is rewind time, and then everything becomes clear. Time isn't being rewound, but allowed to run forwards.

The Princess is fleeing from Tim, setting traps and blocking off routes up to her which Tim manages to narrowly avoid each time. She then sees her Knight up ahead, and knows that she is going to be safe.

"Help!" She cries out to the Knight, while Tim watches helplessly from below.

"Get down here!" He shouts to her.

The Princess jumps down to from the ledge and into the loving grasp of her Knight.

"I got you!" He soothes her, and they escape up the vine to safety.

The epilogue contains text ambiguously explaining the story of Braid. Blow has never revealed the true meaning, and that is the point - it's very open to interpretation. One of my favourite theories is the Atomic Bomb theory, which can be found by clicking this link. It posits that Tim is a scientist working on the first Atomic Bomb, and that The Princess is the bomb herself. This would explain several references in the text hinting at locations and quotations surrounding the development of the bomb, and the wall of flame at the end of the game, and some of the artwork which suggests a Manhattan setting. My favourite thing about the story though, is that we will never know the exact meaning, and that's how it should stay in my view.

Story aside, the final moments of the game are a masterpiece in level design. The fact that Blow can make a level work both backwards and forwards, and have two entirely different meanings is a very impressive achievement. I'm very much looking forward to the next game that can combine storytelling and gameplay in such a tight way.


Amnesia: The Dark Descent
Again, I've seen the majority of Amnesia being played, so I knew what to expect here. You would have thought that would negate some of the horror impact of the game. Nope.

I haven't really got very far into the game playing on my own. Conceptually I'm a big fan of the game, but then I can never bring myself to put myself through playing it, which is a shame. I did do the water monster bit though, which is no mean feat, as people who have played the game will confirm.

One day I will finish it. Maybe.

The new Amnesia game, A Machine for Pigs got delayed until 2013 recently, and I breathed a sigh of relief. I really want to play it, but at least now I've got more time to prepare for it. You can read my preview of the game I wrote by clicking on this link.

That's it for now, thanks for reading, have a good weekend whatever you're doing. I'm going to see Batman, can't wait.