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You take millions of footsteps in video games and the sound accompanying those movements is probably something that becomes white noise after a while. There’s a good chance that won’t happen in The Witness though.
A few weeks ago, The Atlantic magazine published a profile I wrote of the developer Jonathan Blow, a man known in gaming circles as much for his criticism of the mainstream game industry’s intellectual shortcomings as he is for Braid, the outstanding game he created.
A few weeks back, The Atlantic ran a profile on Braid creator Jonathan Blow. It was a great read, and I enjoyed the insight into the developer, but at the same time, he came across to many as a bit of a pretentious arsehole. If you’re of that same opinion, you’ll dig this “missing copy”.
I hadn’t, anyway.
Braid was a massive success, so creator Jonathan Blow must be super rich, right? Well, not exactly, according to Blow himself, he’s spent all of the money he made on Braid developing his new game The Witness.
Call him a sell-out. Call him a suit. Call him too mainstream. It doesn’t change the fact that Mario was jumping and saving imperilled females before it was cool.
When we last saw the upcoming game from Jonathan Blow this summer, The Witness already looked like an intriguing experience. The way that Blow’s game design interwove puzzles and environmental cues created a hypnotic level of immersion where you had to pay attention to a gameworld like never before.