
This is what plays out, in ever more complex ways, over the course of Gorogoa, a shifting of the layers and juxtapositions of different scenes in order to set off actions between them, and thus solve the puzzles. Along the way, inside those scenes, a story is told.
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Roberts worked his way through a string of small software firms, places that allowed him some degree of “creative freedom,” making good money but growing slowly more dissatisfied with the occupation that once excited him. Always, he felt the pull of creative work always, gorogoa was there, rumbling under the surface. I thought about trying to make comics,” he said. He took playwriting classes in his spare time, which didn’t pan out. He embarked on what was to be a massive graphic novel project, in which Gorogoa was the name of a prison. “I started it without thinking it through, and it was taking me four weeks to do every page.”Įventually, Roberts decided that if he was going to do a complex art project, it should at least be interactive. “I had been designing games in my head for a long time, and they were always impractical,” he said. “But I like video games because they have machines, and puzzles with moving parts.” Games also let him use his software engineering skills, bringing together all of his talents into a single project. He thought about the games that had fascinated him as an ‘80s kid: the groundbreaking computer puzzles by Cliff Johnson like The Fool’s Errand, or puzzle books like Maze, which was filled with dozens of intricate, enigmatic woodcut illustrations that hid all manner of secrets inside them. The release and massive success of Braid, the 2008 indie game designed and self-funded by Jonathan Blow, inspired many like-minded creators to attempt to create their own personal game projects, Roberts among them. He began designing an early version of the game, with a different story but similar mechanics, in a notebook, before deciding it was “too complex,” throwing it away and starting over.
