Jonathan Blow and “The Witness”, Part 2

Jonathan Blow and “The Witness”, Part 2  (photo)

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In part 1 on IFC’s focus on “The Witness,” I talked about the experience of playing Jonathan Blow’s next game and how it differed from his 2008 hit “Braid.” The build of the game I experienced was still a work-in-progress but Blow stated that it provided an accurate representation of what he was aiming for in developing “The Witness.” It should go without saying that Blow’s not creating such an ambitious undertaking all by himself. “The Witness” is being built by a small team of developers, all at the service of Blow’s ideas.

After playing the game for a few hours, I talked with Blow about what he’s trying to achieve with “The Witness,” the problems with big-budget AAA games and his thoughts on the indie gaming landscape.

One thing that became obvious as I played is that the idea of perspective is super- important here. An audio recording says that the lead character is here supposedly of his own free will, even though we don’t know whether to trust the guy who’s talking. That puts the player in a complete, moral anti-gravity zone. You don’t know which way is up. It seems like the player is going to be able to get their narrative bearings is through the gameplay itself. Is that a fair assessment?

Yeah. The idea is to provide a lot of freedom, and at the same time, not provide a lot of help. What you do in this game, you kind of decided to do. Now, there’s sort of a non-verbal guide, in the form of activities that are encouraged. It’s how you figure out how to solve all these puzzles. It’s pretty straightforward.

Yeah, the exploration and the mechanics of the puzzles are.

But you don’t really know the why of it, at least at this point in the game. That’s something that sort of comes together by the end.

The very, very end?

Yeah. It’s probably at least 10 hours of gameplay. And the way that the story works is each of these areas has a certain puzzle theme that will have a certain narrative. And yet, I don’t really know as the designer where the player is going to go and in what order. I don’t want to cheat on that kind of thing.

To force them, to experience it a certain way.

Right. So it’s a very nonlinear story. But the idea being that you hear all of it, and then you get to the end, and you kind of put all of that together; things start to make sense.

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Like, in more of an ambient way?

I’m not all about like answering every question someone might have. But there’s definitely a backstory going on with this, that you may get a pretty good idea of by playing to the end. But I like the feeling of mystery and not knowing at the beginning.

And that is definitely inherited from games like “Myst,” from shows like “The Prisoner,” although that [series] tends to be a little more-character oriented. But there’s all these machinations that are happening in each of those things.

I feel like when modern games try to do that, it really doesn’t work very well because they’re so much about guidance now. Modern game design is pretty much, you’re going down a linear path and everything is taken care of for you, you know you’re in good hands the whole time and the designer has prepped this path for you.

It seems like you might have an unreliable narrator, too? When the person on the recording commented about the situation the player finds himself in, he said, “You have no reason to trust me.” But then he says, “I have faith in you.” And that kind of hit me weird. Like, well, the guy said something nice, but I don’t know if I should necessarily trust him. It feels encouraging and but it leaves you in this motivationally weird space.

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I remember at IndieCade last year you were calling this an adventure game. So, why these kinds of puzzles? Why first-person?

Yeah. I think of it as kind of what you get when you take on the spirit of adventure games. In this case, it’s very specifically a graphic adventure like “Myst,” which is like, “Hey, you’re on this island and there’s stuff to solve, and it’s up to you, and there were people there maybe, but they’re not around now.” But, then we’re taking away the “Myst” gameplay and substituting it with something that is more modern. And this certainly is not the only way to do it. There’s like an infinite number of ways to do it.

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Millennial Wisdom

Charles Speaks For Us All

Get to know Charles, the social media whiz of Brockmire.

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He may be an unlikely radio producer Brockmire, but Charles is #1 when it comes to delivering quips that tie a nice little bow on the absurdity of any given situation.

Charles also perfectly captures the jaded outlook of Millennials. Or at least Millennials as mythologized by marketers and news idiots. You know who you are.

Played superbly by Tyrel Jackson Williams, Charles’s quippy nuggets target just about any subject matter, from entry-level jobs in social media (“I plan on getting some experience here, then moving to New York to finally start my life.”) to the ramifications of fictional celebrity hookups (“Drake and Taylor Swift are dating! Albums y’all!”). But where he really nails the whole Millennial POV thing is when he comments on America’s second favorite past-time after type II diabetes: baseball.

Here are a few pearls.

On Baseball’s Lasting Cultural Relevance

“Baseball’s one of those old-timey things you don’t need anymore. Like cursive. Or email.”

On The Dramatic Value Of Double-Headers

“The only thing dumber than playing two boring-ass baseball games in one day is putting a two-hour delay between the boring-ass games.”

On Sartorial Tradition

“Is dressing badly just a thing for baseball, because that would explain his jacket.”

On Baseball, In A Nutshell

“Baseball is a f-cked up sport, and I want you to know it.”

Learn more about Charles in the behind-the-scenes video below.

And if you were born before the late ’80s and want to know what the kids think about Baseball, watch Brockmire Wednesdays at 10P on IFC.

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Crown Jules

Amanda Peet FTW on Brockmire

Amanda Peet brings it on Brockmire Wednesday at 10P on IFC.

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On Brockmire, Jules is the unexpected yin to Jim Brockmire’s yang. Which is saying a lot, because Brockmire’s yang is way out there. Played by Amanda Peet, Jules is hard-drinking, truth-spewing, baseball-loving…everything Brockmire is, and perhaps what he never expected to encounter in another human.

“We’re the same level of functional alcoholic.”

But Jules takes that commonality and transforms it into something special: a new beginning. A new beginning for failing minor league baseball team “The Frackers”, who suddenly about-face into a winning streak; and a new beginning for Brockmire, whose life gets a jumpstart when Jules lures him back to baseball. As for herself, her unexpected connection with Brockmire gives her own life a surprising and much needed goose.

“You’re a Goddamn Disaster and you’re starting To look good to me.”

This palpable dynamic adds depth and complexity to the narrative and pushes the series far beyond expected comedy. See for yourself in this behind-the-scenes video (and brace yourself for a unforgettable description of Brockmire’s genitals)…

Want more about Amanda Peet? She’s all over the place, and has even penned a recent self-reflective piece in the New York Times.

And of course you can watch the Jim-Jules relationship hysterically unfold in new episodes of Brockmire, every Wednesday at 10PM on IFC.

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Draught Pick

Sam Adams “Keeps It Brockmire”

All New Brockmire airs Wednesdays at 10P on IFC.

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From baseball to beer, Jim Brockmire calls ’em like he sees ’em.


It’s no wonder at all, then, that Sam Adams would reach out to Brockmire to be their shockingly-honest (and inevitably short-term) new spokesperson. Unscripted and unrestrained, he’ll talk straight about Sam—and we’ll take his word. Check out this new testimonial for proof:

See more Brockmire Wednesdays at 10P on IFC, presented by Samuel Adams. Good f***** beer.

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