Metaphor through Video Games: Braid

Most people don’t consider video games to be art, much in the same way that television struggled to achieve that distinction, but as the industry becomes more accessible and diverse, and less wantonly commercial, we are beginning to see games emerge that challenge not only our hand-eye coordination, but the way we think about our own place in the world.

Ironically, some of the more simplistic-looking games are fulfilling this ideal.  Braid is a two-dimensional side-scroller, in the tradition of Super Mario Bros. and other early 8 and 16-bit games.  The sprite, or character, moves through the world from left to right in an attempt to solve puzzles and advance through a series of tasks.

Where Braid differs from the norm, and many of the more “advanced” three-dimensional games on the newest hardware, is the gameplay, and how that relates to story and metaphor.

As the title of this blog suggests, the best learning happens when the learner is activated, or for the purpose of the blog, on fire.  As an adult, I find myself becoming engaged by a question, looking into the potential answers, usually through the internet, and when I’m truly on fire, following a systemic pathway of links and articles.  I sometimes even lose track of time when activated in such a way. 

Art should always have this effect on us.  The first time I watched the film Donnie Darko, by Richard Kelly, I was intrigued.  I immediately played the movie a second time, this time with the director’s commentary, even though it was already midnight.  The next night I watched it again with the cast commentary.  I went to the web, and read theories and posited my own.  I made a list of works from the film that were referenced, and went out into the world to get my hands on them.  I read Watership Down again, purchased the book and film versions of The Last Temptation of Christ, picked through the short story “The Destructor’s” by Graham Greene, and learned about Einstein’s Theory of Relativity and how it relates to physical time travel.  All of this learning and consumption came about due to a movie about a guy in a creepy bunny suit. This is what good art does, activates us and invites us into the flow of ideas that the author lived in when they were creating; it enriches the art and opens us up to more of it.

Braid is comprised of a series of worlds, and within each world, time functions in a different way.  The function of Time in the game is tied to an overarching narrative that is richly developed at the start of each world.  After completing the game, I began to have questions about its meaning and development, and began to research.  I discovered that the game was based on 3 novels that the developer was intrigued by, The Cat That Walks Through Walls, by Robert A. Heinlein, Invisible Cities, by Italo Calvino, and Einstein’s Dreams, by Alan Lightman.  I went out immediately and devoured them. 

Einstein’s Dreams was an unbelievable find.  The basic crux of the novel is the idea that in order to understand how time functions in our universe, Einstein had to see the effect that changes to time would have on the human beings in those worlds.  He then looked at what we value in our societies, and determined how time works in our world based on those things.  It’s a stunning metaphor that shows the power of creative thinking in solving incredibly complex mathematical questions.

Braid’s first world is its best example of the effect that altering Time would have on our lives.  The text at the beginning of the level questions what would happen in a world where we could take back our mistakes.  How would it change the way we live our lives.  The gameplay mechanic in this world allows the player to rewind if they make a mistake.  As a learning tool, this allows for a great lesson to our students about risk taking and success, but it also provides teachers a valuable understanding.

Just because a student is capable of “doing something perfectly” right off of the bat, doesn’t necessitate they “know” anything, they may have simply gotten lucky, and this shows no strategic skill in problem solving per se.  Think of a maze.  A student runs through without making a wrong turn on the first try.  A second student resolves to take every right turn in order to create a system for success, that results in several dead-ends prior to getting through the maze.  Which experience was more valuable?  Which student demonstrated higher order thinking?  The obvious choice is the second student, but how often do our assessments and grades reward the first student with better marks?

Using Braid as a way to access this metaphor, and to begin implementing it into our instruction is, I believe, a valid and worthy exercise.  In what other ways can we create experience and metaphor as a way to help students privilege the journey as opposed to the end result?  As we move toward more 21st Century methods of teaching, the answer to this question should help to guide our instruction as well as our assessments.