ZA Critique


by L.B. Jeffries

12 January 2009


I’m a bit late to the Braid party when it comes to blogs. When the prestigious Soulja Boy has weighed in with his opinion, there is clearly not much new to analyze about the game. Still, I’ve had this thing on the back burner for a while and now seems like as good a time as any to post it. People always have a funny reaction when you try to explain the problems with a piece of writing. When you say something is causing hiccups in the process, yet is still grammatically correct or communicated its point, one wonders what more can be expected. One way of explaining writing is that it can be seen as a system that needs constant tweaking based on the message you’re trying to communicate. Order of information, complexity, and presumptions about the reader all have to be factored. The words and phrasing must be adjusted to fit the message. For example, you don’t quote a Shakespeare line about doom to tell someone that a bus is coming at them because “Hey, car, watch out” will suffice, right? You do that because it’s a simple communication. It’s a simple message and doesn’t require more explanation that communicates greater depth. Contrast that to when someone asks you why you’re upset. “I’m upset because my girlfriend dumped me,” communicates a comprehension of their emotional state because we can presume the reader knows what this means. “But I thought you hated her,” your friend asks back. What we now have is a hiccup in the system. Past statements are conflicting with the explanation, listener’s past experiences don’t resonate, or they aren’t following the train of thought sequentially. What do you do?


I’m starting this critique of Braid with that explanation of writing because I think the game’s short vignettes warrant explaining. Jonathon Blow created a metaphorical video game design about time and he incorporated the writing into that design. He’s also taken a lot of flame from people for having the guts to make this game not be highly accessible and I can see why it would put him on the defensive. Popmatters did an excellent review of it and as Subramanian points out, the writing is the only thing one can possibly bitch about in the game. Blow himself explains in an interview with Joystiq, “The narrative in Braid is not being obscure just for obscurity’s sake. It’s that way because it was the only way I knew how to get at the central idea, which is something big and subtle and resists being looked at directly.” Of all the things that people seemed the most conflicted about with the game, I thought this one merited addressing. So what’s the problem? The writing is neither bad nor incorrect. It is out of order.


Back to the barrier of communicating why the girlfriend you hated still made you upset when she dumped you. What do you say? There are two basic choices: indicate that this is a complex form of sadness OR use an example. Essentially, “It’s complicated, man” or “Well, she could be a real pain but she really made me feel good about myself too.” Which has communicated more to you? The example, right? I’m filling in what your brain does when you try to understand something, I’m providing the frame of reference for the conduct that you don’t have. That’s why writers always say “Show, don’t tell.” Don’t tell me that you’re upset, show me why. Don’t tell me the character is lonely, show them acting lonely. It’s the traditional method for communicating complex feelings because it’s still functioning like a simple “Hey, car, watch out” by supplying the person who doesn’t understand the image of the car as well. Braid, with its themes of time manipulation, chucks a big monkey wrench into this whole process. The text, which we are expecting to be some kind of introduction or explanation, is actually a combination of responses to the level and metaphors for various things going on in-game. What’s off-putting is that we’re getting this before we have any frame of reference. Just as the game is about the implications of time travel and achieving goals, the text is about experiencing a variety of emotions and experiences out of order as one would expect once sequential time is out of the picture. We’ll take a few examples and watch this in action.


A green book from World 2:

Our world, with its rules of causality, has trained us to be miserly
with forgiveness. By forgiving too readily, we can be badly hurt.

But if we’ve learned from a mistake and become better for it,
shouldn’t we be rewarded for the learning, rather than punished for
the mistake?

The paragraph makes perfect sense after you’ve played the level. This is talking about the larger implications of forgiveness and time travel. It explores the time-reversal mechanic by explaining it as a form of forgiveness, of being able to undo punishment. Other books follow similar suit, World 3 talks about being non-manipulable and not always controlled by the princess, the levels involve the glowy green stuff that is immune to time rewind. World 4 talks about visiting childhood memories and reliving them, time travel moves forwards and backwards in conjunction with you. When we are thinking about our memories, we are in absolute control of their movement. In combination with quantum mechanics, it also proposes the idea of time not being linear and how all these alternate realities are spooling out. What throws the player is that you’re reading this text before you play the level. You’re being warned about the incoming car without having any frame of reference for the car itself. It’s saying “This is complicated, man” without me having any understanding of why. Thus the complaints of being intentionally obtuse: the text is designed to be experienced out of order from the actual comprehension. This confusion is corrected as soon as one plays the level, but it’s the reason for the reaction many people had.

Let’s look at a book from World 6:

But the ring makes its presence known. It shines out to others like a
beacon of warning. It makes people slow to approach. Suspicion,
distrust. Interactions are torpedoed before Tim can open his mouth.

This is the world where the wedding ring acts as a way to make a time bubble. Anything in the bubble slows down significantly, allowing you to slow down cannons or platforms so you can get through at just the right time. Stephen Hawking is about as far as I get with quantum physics but my understanding is that the game design is calling the wedding ring a blackhole, the idea that time slows to absolute zero at certain points but are also inherently empty. Ergo the part about “people being slow to approach and terminating social interactions. Or not, given the part about being a shining beacon, but it’s the way the symbol resonates with me the most. Like the other texts, you can’t quite get a grip on what he’s talking about until you play the level. It works once you play and think about the point Blow is making…but that’s not what the audience is expecting when they read these books. They want an explanation or introduction. This quirk in writing is particularly effective provided you play the game without using gamefaqs and don’t try to do it in one sitting. On my initial encounter with many of these books I didn’t follow their point and went through the door confused. After playing in that world I’d get tired of a puzzle and leave to try a different world. When I came back ready to try again, another glance at the books and suddenly they made sense. In this way the actual text is understood in the same fluctuating way that the game’s design deals with time.

The ending stays strong, including the atomic bomb reference, as a collection of examples of goals one pursues but how our relationship with these goals collapses under quantum physics (we already got the goal) and personally (there is always another goal to pursue). Short vignettes before a level starts that establish the setting and story have been done before and under conventional game structures they act like an introduction. Braid’s upsetting of that norm is ultimately welcome for many people looking for a new kind of game experience. The point of this critique, as I pointed out above, was to figure out why people complained about the writing. The argument that language is about being understood is a good one but one should never get too confining about what their art can and cannot do. There is a proud tradition of writers and artists who have taken this ideal of communication and told people to shove it. William Faulkner, Virginia Woolf, and James Joyce all wrote some of literature’s greatest books in non-sequential and incredibly confusing manners to experiment with time and rationality. If it’s any consolation to those irritated by the game, keep in mind Faulkner got a lot of shit for

The Sound & The Fury

too. But it’s also a great book once you realize what he was going on about in the Benjy section.

We all know how critical it is to keep independent voices alive and strong on the Internet. Please consider a donation to support our work. We are a wholly independent, women-owned, small company. Your donation will help PopMatters stay viable through these changing, challenging times where costs have risen and advertising has dropped precipitously. PopMatters needs your help to keep publishing. Thank you.

//Mixed media

NYFF 2017: 'Mudbound'

// Notes from the Road

"Dee Rees’ churning and melodramatic epic follows two families in 1940s Mississippi, one black and one white, and the wars they fight abroad and at home.

READ the article