Youtube braid game

So I feel like when someone takes one of them and decides to say, 'This is what the game is all about', they're sort of neglecting a lot of the other ones, which I would not recommend. Blow admitted that he couldn't directly answer an audience member's question about whether the story was designed to be open to interpretation.

The reason I don't really talk about the story very often, and I'm not going to talk about it much here, is that the reason I make video games, or one of the many reasons, is that I want to do some art things - I'll say art, right - and what I want to do is communicate certain feelings, situations. The sort of thing that I guide myself into thinking about, doesn't succumb itself into linear language, or at least I don't know how to do it. Even though there are text bits in the game, I think about the game as the whole thing, that it's some kind of envelope that I'm trying to express, or points at it in different places and in different directions.

Maybe not get to, right? Whether people get there or not is not up to me. Probably, there are things that I could have done better but I don't know what they are, even do this day, years afterward. You can't stop people from having their own interpretation, that's a fact of the universe that we live in. So it would be foolish as an artist to try and dictate people's readings. It's counter to reality. At the same time, you have a reading that you intend, and I think that the more complex what you're doing is, you have some idea in your head about how much people are going to get.

You have to take for granted that there's a continuum of levels at which people will engage with what you're doing. That's why, like I was saying, that you can run past all the books in the game and not feel bad about it, because I wanted to allow for the possibility of engaging on the level of only gameplay and not text.

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In this reading, the princess is the bomb, and Tim as an Oppenheimer-like figure, suddenly horrified by the realization of what he so desperately and foolishly pursued. Blow says he created the game to communicate a message—a message "important enough to me that I spent three and a half years of my life trying to express it.

He expects the player to solve all of his puzzles. The actual meaning of his story is clearly one of those puzzles—and, given that it comes at the climax, maybe the most important one of all. But at the risk of inciting the rage of Jonathan Blow, I still think the straightforward explanation for Braid is richer and more fully developed than the more complicated one he seems to prefer.

As an elaborate allegory for the creation of the atomic bomb—or maybe for the heavy price that can come with acquiring any knowledge, with the bomb as a metaphor— Braid is needlessly coy. If Braid had come just a little later, it would probably have been read by many as a meta-commentary on the Gamergate movement.

Part of the reason Braid is able to explore so many heady little detours is because the mechanics themselves are based on the widely beloved, famously accessible Super Mario Bros.