This is an essay I wrote a couple of years ago for the Game Design course I'm attending at Brunel University.

Windosill is a short game released in 2009 through digital distribution channels by web-artist and painter Patrick Smith (usually known as Vectorpark). Windosill's aim is to inspire in the player a child-like wonder and sense of discovery (Smith, 2009), presenting him with an interactive world made by a series of rooms that can be progressed by resolving very simple point-and-click puzzles. However, those puzzle, while being the core element of the "gameplay", are not Windosill's main interactive focus. In fact the game is much more oriented on immersing the player in its abstract world. This aim is reflected by the puzzle design that, if on one hand is very simplistic, on the other forces the player to explore the environments and to interact with every element that he can see, since the abstract nature of the game makes it practically impossible to quickly resolve the puzzles on the first try. The absence of the need for complex reasoning is also another element that helps the player focusing on enjoying the world and the experience (Juul, 2007).


Gods Will Be Watching

Gods Will Be Watching Logo

A remake of the homonymous game developed by Deconstructeam for Ludum Dare 26, Gods Will Be Watching is director Jordi Del Paco’s first attempt at a “full” release (his ludography with Deconstructeam previously consisted only of small freeware projects). The game was funded through a successful indeGoGo campaign, which grossed more than 20.000 euros, and found a distribution partner in Devolver Digital, carrier of most of the “high-profile” indie games released in the last couple of years.

Gods Will Be Watching is at its basic a sci-fi thriller that borrows heavily from the more “conceptual” kind of sci-fi of the sixties and seventies (Philip K. Dick is the first comparison that comes to mind). Just like that kind of literary science fiction the game is short, minimalistic and extremely to the point, not losing itself in too many “cinematic” deviations and building its mood and narrative prevalently through its interactive architecture.