Islands of Insight teaches logic puzzles

Islands of Insight is a recent puzzle game taking place in a shared online world. This, by itself, is an extremely ambitious concept, because normally “puzzle” and “MMO” do not go together.  I know only of two other games that tried to be puzzle MMOs: Uru, a 2003 game in the Myst franchise that dropped the MMO aspect before commercial release; and Puzzle Pirates, another game from 2003 which is a “puzzle game” in the sense of Tetris.

There are three challenges facing a puzzle MMO: Puzzle games generally have small cult followings at best, whereas an MMO requires some level of mass appeal to be commercially successful. Puzzles are often solitary activities, whereas MMOs are social. Puzzles generally require careful bespoke design, whereas MMOs want endless content.

Did Islands of Insight succeed in squaring the circle, to create the Puzzle MMO? No, not at all. Despite the shared world, it’s not a very social game, and would work equally well solo. And while players seem to like it, it wasn’t commercially successful enough to support its development team.

But the game successfully addressed at least one of the challenges of the puzzle MMO.  They generated over 10,000 puzzles with high quality standards to populate a large 3D world. These include perspective puzzles, mazes, hidden objects, moving block puzzles, and many more. I’d like to focus on the most numerous type of puzzle, the logic grid.

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What is the purpose of a reading?

In media analysis, we speak of “readings”, or interpretations of what’s going on in a work of (usually) fiction. Readings are not factual, they are fictional, and mutually contradictory readings can coexist. Naive readers often think that there’s just one right answer, which is to say whatever the author intended. However, authors can fail to fulfill their intentions, or else create something that goes in directions that they never intended. This is what’s meant by “death of the author”: a reading does not need to align with authorial intent in order to be a good reading.

But like a work of art, a reading can still be good or bad. And authorial intent is at least sometimes relevant to making that judgment. So let’s talk about a little reading that I saw a couple years ago that baffled me so much that I still think about it today.

In Gayming Magazine, there was an article talking about a queer reading of Elden Ring. I’m already on board, of course. The article started by observing that in a couple endings of the game, the player character becomes the “consort” of Queen Marika or Ranni the Witch. And generally, the game doesn’t really care whether the player character is male or female. So if you have a female player character, you can become the same-sex “consort” of a queen or a goth, and the game doesn’t really treat you any different for it. So that’s neat. That’s not the article that baffled me.

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Laudatory categories

Theseus’ ship is a philosophical thought experiment that asks what happens if you take a ship, replace it piece by piece until none of the original pieces are left. Is it the same ship, or is it a different one?

Now imagine the following response: “It depends. Is the ship seaworthy?”

This response is a bit absurd, because clearly the question does not depend on whether the ship is seaworthy. A ship may still be the same ship while falling into disrepair, or perhaps the ship was never seaworthy in the first place. And on the other hand, you could have another ship which is also seaworthy but is nonetheless a different ship. We may disagree on how to answer the question about Theseus’ ship, but surely whether the ship is seaworthy is besides the point.

Nonetheless, this seems to be the way people think about many categories. A laudatory category is one whose definition has become intertwined with the question of “is it good?” A pejorative category is one whose definition has become intertwined with the question “is it bad?” Let’s talk about a few examples.

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Critiques of Train

cn: Discussion of Holocaust media, while avoiding discussion of the Holocaust itself.

Train (2009) is a board game slash art installation by Brenda Romero.  It’s the most famous game in her series The Mechanic is the Message. There is only one copy of the game. In the game, players are tasked with transporting meeples by train. Over the course of the game, the players learn that they are in fact taking the role of Nazis transporting people to concentration camps.

Train makes a provocative and valuable statement, and I am by no means outraged by the game. However, I do have a few bones to pick with it.

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Capital in board games

In economic strategy board games, it’s very common to have an arc of growth over the course of the game. You start out with few resources, and then you invest those resources to bolster your income, which then gets reinvested to grow even more, following an exponential trajectory. Central to this growth trajectory is the concept of capital.

In economics, capital is understood as durable goods that are used to increase or enable production. The classic example of capital is factory machines, but capital could also be something abstract, such as an education. People commonly understand capital as simply money, which is true insofar as money is commonly invested into capital. And so it is in economic board games, where you invest fictional money into fictional capital in order to increase fictional production.

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Firewatch was too hard

cn: moderate spoilers for Firewatch.

Firewatch is a 2016 walking simulator about a man named Henry, whose wife is suffering from early onset dementia. He joins the firewatch as a way of running away from his problems. Gameplay consists of hiking through a naturalistic forest, while Henry chats frequently with his boss, Delilah, over the radio. At some point they learn that someone has been listening in on their conversations, which ignites in both of them a paranoid fantasy.

Firewatch has a linear narrative, with no major branching points and no fail states. Nonetheless, I found it too difficult. I had already been spoiled as to its general plot and themes before I even started. And yet, I still felt like I didn’t “get it” in my own playthrough. I felt like I had watched a walkthrough but was still unable to perform the actions that I had seen others do.

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Empathy games and critiques

Empathy games are a genre of game that enables players to understand and appreciate other people’s feelings or experiences. Supposedly, games are uniquely positioned to cultivate empathy because of the embodied experience of playing. In a game, you can almost literally walk a mile in another person’s shoes. Empathy games also offer a counterpoint to the mainstream viewpoint that video games are all about “fun” or plain bloodlust.

Among my readers, I suspect that many have never heard of the concept of empathy games. And when you first hear about empathy games, you might feel that it’s a great idea. However, in games critic circles, especially among queer critics, it’s often considered passé, or even a discredited trope. Marginalized creators have spoken out about the limitations of empathy, and its commodification. Exploring their perspectives may help us understand pitfalls in media representation of marginalized groups.

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