When I first started playing Braid, I had an idea of how the game mechanics would work. It was a puzzle platformer with twist: instead of dying and having a limited amount of lives, you could simply rewind time and undo your actions. While this mechanic allowed players to continually reset levels and try different strategies, the real appeal of Braid comes from its story line, which also uses time in order to convey a narrative. The protagonist, Tim is searching for an unrequited love who left him. Throughout the worlds, you read books that lay out his backstory, and how their relationship fell apart. However, after viewing the ending of Braid and seeing the game play in reverse, we discover that Tim is in fact the one chasing the Princess as she continually tries to get away from him. I thought that it might be useful to look at the backstory from this lens - reading the books (in the World 2 clouds) in reverse. While it didn't reveal any hidden information, the new story told captivated me more than the original - primarily because of the new perspective of everything initially being fine and dandy and then descending into the chaos of Tim's quest - to rescue the Princess. In this way (either intentionally or unintentionally), Blow is able to move past the linearity of time to tell a narrative. You can read the story line from left to right, as normal, or start to think about the story in fragments that can be read from right to left. Like the ending of the game, this reading of the story allows the player to see a new perspective, which allows them to further immerse themselves in it. The final cloud level also is able to capture the dichotomy of perspectives - Tim's when he is on screen, or that of the princess when he is hiding behind a statue and is no longer in the foreground. Blow's use of perspectives with time and foreground focuses add to the narrative of the game, which is one of the main reasons why players kept trying to find derive meaning and understand the game from the creator's perspective. This makes Braid walk the line between game art and art game, since aspects of both are conveyed through not only the story given, but also how the player chooses to interact with that narrative.
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I agree that time in Braid is critical to the narrative, but find it interesting that you describe Blow as "able to move past the linearity of time to tell a narrative." Braid's narrative is only possible because time is linear. The gameplay diverges from linear time, and the puzzles are only possible because of this. However, the narrative itself does not break from a linear timeline. You progress from world 2 to world 3 to world 4 and so on to the end of the game. Although the player may decide to return to a previous level or world (and in the case of the cloud bridge puzzle is required to), this has no narrative impact. Revisiting spaces in…
It might be interesting if you were to think more on the idea of Braid as an art game vs game art since you only begin to introduce that idea at the end of your post. I'd also like to hear more about what you mean in saying that one of the main reasons the player tries to derive meaning and understand the creator's perspective is due to the "use of perspectives with time and foreground focuses" in order to drive the narrative. This is an interesting idea in this case, since Braid doesn't stand out (at least to me) upon first glance as a game that leaves the player concerned with the creator's perspective. Even though we discussed the…