The Best Puzzles of 2023: Humanity, Cocoon, and Mosa Lina / ITech content

Contents:

• Humanity
• Cocoon
• Mosa Lina

2023 saw the release of many significant games that weren't focused on shooting or fencing. Amid the success of heavyweights like Baldur's Gate 3 and a variety of action games, including the Resident Evil 4 remake and Turbo Overkill, the impact of more sedate titles often takes a back seat. The end of the year is a great time to take a closer look at subdued and soothing games that offer unique gaming experiences and immerse players in an atmosphere far removed from chaos and tension. This year, the gaming genre delighted not only with an abundance of releases but also with a rich diversity of both themes and mechanics. Chants of Sennaar combined the aesthetics of Mike Mignola's comics with the works of Moebius, offering a unique story based on the Tower of Babel. Viewfinder transformed the camera into a tool for distorting reality, creating a captivating gaming experience. The Banished Vault explores a crisis of faith through complex logistical challenges in the context of deep space travel. This year concluded with the release of The Talos Principle 2, a sequel to one of the most philosophical games ever, exploring the nature of humanity and existence without humans.

Each of these games deserves its own review, but this time I'd like to highlight projects that push the boundaries of the genre while still preserving its fundamental elements. What does it mean to "solve a puzzle"? What are its limits? How can we teach players without words, and is it worth using the traditional puzzle framework at all? In this article, I'll discuss three games that answer these questions and offer a new perspective on the genre.

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Humanity

If you have a dog, you probably interact with them during walks. This interaction usually doesn't require many words: you tug on the leash, give simple commands, and wait for your pet to do its business. However, in the Humanity project, the situation changes dramatically: you, like a glowing Shiba Inu, lead the way in a stream of people. Communication with them also boils down to simple commands, and sometimes you'll have to patiently wait for them to do their business. This unique experience of interacting with others demonstrates how simple commands can become the basis for communication in a variety of situations.

The latest game from the duo Tetsuya Mizuguchi and Yugo Nakamura, who lead the studio tha ltd., is a logical continuation of the classic game Lemmings. In this new game, as in Lemmings, the player cannot directly control the characters, requiring them to interact with the environment. The goal is to create a safe route for the lemmings, allowing them to reach their destination unhindered. This approach creates engaging gameplay that combines elements of strategy and spatial thinking.

Humanity offers a unique experience, expanding on the game's core mechanics by introducing diverse elements such as stealth and a simple combat system. These elements create a dynamic reminiscent of commercials featuring fake gameplay for mobile games. The main goal is to guide people to a specific point in the level, allowing them to ascend. In some situations, players control an endless stream of people emerging from a brightly lit portal, while in others, they lead a small group, adding an element of strategy and interaction. A game's appeal lies not only in its central idea but also in the many solutions it entails. Puzzles are often perceived as abstract, requiring logical thinking: untangling knots, moving blocks, and arranging elements. The player typically has no physical embodiment, and the objects they control remain static without their intervention and move strictly according to set rules—left, right, forward, backward, one cell at a time. In the worst-case scenario, the difference between simply clicking sliders on a smartphone and solving mechanical puzzles is minimal, as in games there can only be one correct combination of moves. This is no longer just a puzzle, but rather a task of picking a code to a safe.

Mizuguchi has always strived to embody the concept of synesthesia, which is a mixing of the senses, in his games. Games such as Lumines and Tetris Effect are no less significant predecessors of Humanity than Lemmings. The introduction of a dog avatar created a unique sensory world that immerses the player in an atmosphere of interaction and emotion. This allows players not only to enjoy the gameplay, but also to experience deep feelings, combining visual and auditory aspects. Thus, Mizuguchi's games continue to develop the idea of ​​synesthesia, offering new ways of perceiving and interacting with the game space.

By approaching streams of people and adjusting the camera, one can hear their absentminded murmuring and the rhythmic clatter of footsteps. Anything that emits light also produces sound; Sound cues vibrate the gamepad. While the combination of these cues could create a cacophony, transforming the game cursor into a controllable body allows the player to clearly structure their perception of space. This allows the abstract world to be illuminated with sound and tactile sensations, while simultaneously filtering out unnecessary stimuli located far from the avatar. From a biosemiotic perspective, it can be argued that a unique umwelt—a world of sensations—is created between the player and the game interface, enriching the gaming experience.

Humanity creates a relaxing atmosphere for the player, allowing them to not worry too much about the fate of a column that could boldly step into an abyss or break in a fall from a height. The disappearance of people who instantly return through a portal is perceived as a natural part of the gameplay. Unlike mechanical characters in games like Factorio, people in Humanity react to events with greater emotional depth. They float in water, actively move, and express emotions, making the gameplay more engaging and lively.

The difficulty and risk of loss increase in later The game's stages are marked by regular rewards for completing basic challenges. However, the game retains its convenience: the ability to restart a level with the same team setup and speed up gameplay is available. Each player achievement is accompanied by specially selected sound effects and animations that ensure maximum engagement and satisfaction.

The game's levels feature golden figures, which are typically not required to complete a stage but serve as currency in the game's progression mechanics. These figures can be floating in the air, submerged in water, or trapped in cages. Players, like water, will strive to collect them without leaving them behind. On average, in the early levels, it's possible to collect two of these figures at a time. After each successful collection, the game displays two bars that fill with gold, accompanied by a pleasant sound effect.

Combat mechanics in games play a key role in creating an immersive experience. The feel of weapon recoil, the clang of blades, the click of reloads, and hit cues create a unique atmosphere that influences the player's perception. Humanity strives to improve this aspect by offering constant yet unobtrusive stimulation that rewards the player in the most tangible way possible. This approach allows for deeper immersion and increased engagement, making the game more memorable and engaging.

The game's mechanics provide information about the character's physical limitations. For example, our dog is unable to jump three blocks high, which is easily noted by the clear level markings. The scaling of objects in the game remains consistent, and many elements can be assessed visually, without the need for explicit interface intervention. This allows the player to quickly adapt to the game world and make decisions based on observable environmental characteristics.

There's much more to say about Humanity, but I'll highlight two key points in my recommendations.

Humanity users may find the game engaging due to its friendly approach, where optimal solutions aren't the only or obligatory ones. The game's narrative effectively connects small segments into a coherent whole. Additionally, the accessible level editor allows for the creation of unique gameplay elements, including original staged games and parkour sections for the dog character. These features make the game more engaging and varied, giving players the opportunity to experiment and find their own paths to success.

For developers, Humanity could be an interesting example of a "living" puzzle that offers space for reflection and observation. In this game, players act as both a conveyor belt and an interactive toy, making the process more engaging. Watching the characters' dynamic actions is more engaging than watching gears spin or stationary objects while you plan your next move.

I recommend using a gamepad for the game, as it provides more convenient control of the avatar. Unlike a keyboard and mouse, which can make your body feel like a "bad cursor," a gamepad allows for greater precision and smoothness in gameplay. Humanity features high-quality vibration, emphasizing the importance of interacting with the game through sensory sensations, which we have already mentioned in the context of umwelt and synesthesia.

Cocoon

The new game from Jeppe Carlsen's company continues to experiment at the intersection of abstract art and game design, which was embedded in his previous projects, such as Limbo. His next significant works were Inside, 140, and Thoth, each demonstrating a unique approach to visual storytelling with minimal use of text. Carlsen developed his concept in different directions: Inside is a platformer with 3D graphics and more realistic architecture, while remaining within the genre established by Limbo. Meanwhile, 140 and Thoth significantly simplify visual elements, reducing them to basic geometric shapes. These creations highlight Carlsen's unique brand of game design, with each project offering new ways to interact with the player through art. Despite their different approaches, all of these games share a theme of encounters with the inhuman. In Limbo and Inside, boys are pursued and tormented by monsters, creating an atmosphere of anxiety and hopelessness. In 140, the avatar's movements are synchronized with musical rhythms, reflecting Carlsen's work with Mizuguchi-style synesthesia. Thoth, thanks to the behavior of the game's entities and the sound design, feels like an exercise in abstract horror, immersing the player in a unique experience of interacting with the unknown. These aspects make the games not only engaging but also profound in their exploration of fear and uncharted territory.

Cocoon represents a new stage in Carlsen's creative journey. This work differs from previous works in that it is less schematic and does not appear deliberately simple. At the same time, it maintains an atmosphere of silence and alienation, which makes it especially attractive to viewers.

How to avoid getting lost in a game world? This question is becoming relevant even for popular games that utilize dynamic gameplay. For example, the use of bright yellow paint on the stairs in Resident Evil 4 was discussed this year. At first glance, marking every interactive detail with a contrasting color seems redundant, but such decisions are often made based on playtests. When the designer does not control the in-game camera and the player's attention is focused on enemies and maneuvers, it is easy to miss a staircase that blends into the environment. In such cases, the only option is to highlight important elements with color or an interface so that players can orient themselves in the space. This emphasizes the importance of visual navigation in games, which contributes to a more comfortable gameplay experience.

In the Designer Notes podcast, designer Clint Hocking discusses an interesting problem in the game Splinter Cell. Players often get lost in the first urban level due to the ability to bounce off walls and the darkness, which makes it difficult to find key points for progression. In this context, it's important to note that one of the main threats of such wandering is the risk that the player, upon encountering a dead end, will begin to backtrack, moving away from the goal. This raises the question of how Cocoon navigates the player through an alien world, avoiding pointless level navigation without relying on text cues.

One of Cocoon's key achievements is its ability to focus and direct users' attention, effectively guiding their actions. This is achieved through the timely restriction of options, allowing players to focus on what's important. In an interview with Game Developer, Carlsen emphasized the importance of analyzing not only how players overcome challenges but also how they form incorrect assumptions. Designers need to create conditions in which players can recognize their mistakes and learn from them. While players have the ability to create complex structures known as "suitcases," designers still have a wide range of tools at their disposal to control gameplay.

Players in Cocoon don't have control over the camera, allowing them to view spaces from the most convenient angles. This facilitates movement between spheres and helps them better remember the locations of objects relative to the avatar. Knowing how many elements fit on the screen at any given moment helps organize segments more efficiently. Cocoon protects players from excessive curiosity, which improves gameplay. Color coding also helps with spatial orientation: the green sphere world is dominated by green shades, while the orange sphere world is dominated by orange. This difference in biomes promotes a better perception of the spheres' functions as means of movement and helps players remember their unique features.

Karlsen emphasizes the importance of limiting teleportation points in the game, allowing travel between worlds only in strictly defined locations. This solution solves several interaction problems at once. Firstly, players avoid wasting time on uncertain experiments, such as trying to teleport to unobvious locations. Secondly, having clearly marked points helps players understand where to interact with in-game spheres. Thirdly, developers gain greater control over the amount of information on-screen, as they know exactly what players see in the vicinity of teleportation points immediately after they arrive. This simplifies the development process and improves the gaming experience.

Cocoon combines elements of Patrick's Parabox and ElecHead, offering players a unique experience based on puzzle solving and exploration of an unfamiliar world. The game emphasizes the reward of ingenuity, allowing every step to reveal new facets of gameplay and immerse the player in a gripping story.

Reviews of the game often note its relatively short length: players reach the end credits in 3-4 hours. However, for a game like Cocoon, this is not a real drawback, given its unique concept, unusual imagery, and lack of explicit tutorials explaining the gameplay. The developers at Geometric Interactive have managed to satisfy players' curiosity and lead them along the most engaging routes. At the same time, for other developers, Cocoon can serve as a great example of how to teach players complex mechanics without using words.

Mosa Lina

Warren Spector's GDC talk, "The Deus Ex Commandments," introduces an important concept for immersive sims: focusing on challenges rather than puzzles. The player should be able to interact with the environment and make decisions, rather than being faced with artificial obstacles that require solving a specific task to continue the game. This approach emphasizes the importance of freedom of choice and depth of interaction in game worlds, which allows for more engaging and realistic experiences for players.

The task we face may seem simple—for example, navigating a corridor with electrified floors or infiltrating a secure building. In Metal Gear Solid, the first scenario presents exactly this situation, where the only solution is to destroy a generator with a guided missile. It's a typical puzzle, but there's no room for creativity or improvisation. The player is always faced with the same solution: a generator and a guided missile. Such limitations can reduce the interest in the gameplay, forcing us to consider the need for more flexible approaches to problem solving in video games.

Immersive sims often use the concept of a tower of boxes as a powerful example of their logic. Typically, this construct is used to overcome an obstacle when the player lacks access to a key or necessary skills, such as hacking. This is a clear metaphor for immersive sims: if you don't have the key, you can use objects around you to solve the problem. This approach was successfully implemented in Deus Ex, but with each new game in this category, this moment of triumph of ingenuity over game systems loses its appeal. In 2000, the ability to climb boxes or other objects was a thrill, but today it might elicit only a faint smile, if it remains in the memory at all. This highlights the importance of constantly updating mechanics and ideas in the genre to keep players interested.

Mosa Lina, according to author Joshua Hollendonner, draws inspiration from the "aggressive interpretation" of immersive sims. Modern games that proudly embrace the Ultima legacy—Underworld, Thief, System Shock, and Deus Ex—seem to believe in their own marketing. Joshua Hollendonner believes this affects the perception of the gameplay and its uniqueness.

When you encounter a locked door, you're confident that a key or the ability to use the appropriate skill to open it is nearby. You don't need to improvise, because everything you need is right there. Situations that might have been disconcerting 20 years ago are now perceived as mundane. Technological advancements and skill development have made everyday tasks more predictable and manageable.

The uncertainty that Hollendonner creates in Mosa Lina becomes a key element of the gameplay. Players find themselves in a random level where they must destroy one or more fruits or berries. To complete the task, they are provided with three random tools from a vast selection of dozens. Unlike traditional 2D platformers, which require precise touching of targets, in Mosa Lina you can simply push strawberries and apples out of the level. After destroying all the targets, an exit opens, which you must then reach. This mechanic creates a unique experience, forcing players to adapt to the random conditions in each level.

While the task seems simple, the local physics significantly complicate things, introducing a multitude of random factors. Levels, which are in relative equilibrium, are subject to deformation and destruction as a result of our actions. For example, using a bomb can cause any unsecured platforms to fly upward, capturing anything in their path. This creates unique gameplay situations and requires the player to strategically interact with the environment.

The inability to make plans and the fact that the player is transferred to the next level, even if unsuccessful, forces constant improvisation. There are no traditional doors with keys that can be found in the next room. It may happen that a certain level proves impassable with a specific combination of tools. However, this is not a problem: after several stages, the player is returned to this level with a new set of options. This approach adds an element of surprise and excitement to the gameplay, allowing players to find new strategies and solutions.

The combination of complete indifference to the player and the traditional principles of good game design, as well as the unpredictability of reactions to the player's actions, allows us to turn to Spector's famous commandment: a good puzzle can be solved using the available means. In this context, the levels of Mosa Lina can hardly be called problems; Rather, they are unique situations that require an unconventional approach.

Mosa Lina lacks metaprogression, and the points awarded in various categories are unimportant, a nod to Dishonored. Players can either complete levels with the resources they have or return to them later. Some stages can be completed without using tools at all. No matter how original or unsuccessful your sequence of actions, the game does not judge your efforts. This is reflected in the name itself: Mosa Lina contains the same letters as Mona Lisa's name, and even if they are placed incorrectly, you can still recognize her. This creates a unique atmosphere and emphasizes the creative approach to gameplay, emphasizing human ingenuity and original solutions. Mosa Lina is one of the most exciting puzzle games this year, offering players freedom in their choice of strategy and approach to problem solving.