Here’s a link to the video.

Some fun features:
- “Movement by Degrees” without the key
- The best “Impassable Foliage” you’ll ever see (starts at 15:49)
- Kills the princess

Are we talkin’ 500 megs?

A gig plus, perhaps?

I ask ’cause my iPad 2 v2.0’s only got 16 gigs on it & I wanna know know who’s gonna get
the heave-ho so’s to have ample HD room for “The Witness”.

Thanks!

Looking forward to a 2013 release.

I find the first one to be very beautiful but I’m assuming it wasn’t chosen because it doesn’t look like it really would reflect the game (based on what little I know :P).

I had one further problem, which was that I want to be able to use pen input as well as mouse and touch. Pen events come through to WM_MOUSEMOVE etc marked with MOUSEEVENTF_FROMTOUCH, *but* they don’t get a WM_TOUCH event. You have to separate “from touch” events into “from pen” and “from finger”, and process pen events like a mouse. Touches from a finger have bit 0×80 set in GetMessageExtraInfo, pen messages haven’t. The lower 7 bits are the touch device id. The 0×82 you found from experimenting is presumably 0×80 plus a device id, and may not work on all machines.

It was only by working this out through trial and error that I had enough information to find this MSDN article confirming it: http://msdn.microsoft.com/en-us/library/windows/desktop/ms703320%28v=vs.85%29.aspx

Now I have this.

It just seems like the kind of thing people would do.

It might be tough to do, but I thought you might be able to do a figure/ground design like the “Star Trek: Into Darkness” poster where if you squint your eyes you can see the Star Trek logo.

Something that would reward careful observation. Just like the game.

Can’t wait to see what you come up with.

my fav is luis 10. it just looks great, and i love the way one set of terraces is sunken and one is raised.

My wallpaper has been the opening title of Braid for a long time, I look forward to updating it!

http://th07.deviantart.net/fs46/PRE/f/2009/170/b/9/Braid_Wallpaper_by_Liquos.jpg

It might also be good to include something in the art which is central to the game, but not revealing in any way.

So here it is in higher res:
https://www.dropbox.com/s/hz3o5stn76aa0mg/Luis_14.jpg

and a desktop background version:
https://www.dropbox.com/s/oa7f00anew34aj4/Luis_14_Screensaver.jpg

How would these be used? I mean, I assume you won’t be putting up posters in Gamestop (maybe I’m wrong?). If you’re just selling them, I might be interested. I’ll have to play the game first, though! Can’t wait guys, I hope we’ll hear a release date soon.

(Obviously, if we don’t know the release date that means that there isn’t one for us to know – just asking how work is going, since this blog’s been silent for a while.)

I like it!

Will it be more concrete (A panel or maze in game puzzle) or be more abstract (Like Braid’s
Sand castle poster)

bty I don’t even know what Luis_02 is it just looks awesome, I’m guessing is a ceiling/roof or wall…

There seems to be an strong and aware emphasis on trying very hard to be iconic. To have places that when you see them, scream “The Witness.” Being iconic and recognizable is good but what if you put a spoiler, secret or Easter egg in plain sight that none understands until after beating the game. That would be an interesting poster.

Also, I’m requesting that last one in a high resolution! :3

The second one is pretty cool.

The third one is a bit… meh…

The fourth one, I’m really not a fan of.

The fifth one is neat! Great use of colours.

The sixth one reminds me very much of the Indie Game: The Movie cover/poster.

The final one is BEAUTIFUL, and I’m glad it doesn’t have ‘The Witness’ written on it. The little screen feels a tad misplaced, but it would make a perfect wall hanging.

—

Thoughts, people? :].

xx

Also, how do you model those really cut surfaces on the rocks and other geometry. I’ve messed around with creating simple shapes like that, but they really rely on keeping the shapes planar, and as I edit the model and add detail I tend to really jack up the faces and then triangulation appears and then… poof it’s crap. I’ve considered trying to carve a rock with a boolean block, or using slice plane and capping over and over, but those processes sound very tedious.

(On reflection however, IKnowImOffensive’s exception-safety argument may not hold much water however since, if the PS4 compiler is anything like the PS3 one, exceptions wouldn’t really be supported very well (& typically haven’t been in console game dev for a very long time), if at all, and thus are likely not something game developers can hope to rely on in production code. So considerations towards this requirement are kinda moot.)

You could still pass your custom d’tor code (if required) as a lambda into the RAII object constructor, effectively again leveraging the benefits of C++11 but also make your code far simpler (you only write your single line c’tor statement and any scope-based cleanup just magically works without you having to write a single line of extra code).

It’s an interesting idea though however not quite one I’d go for.

That being said, more frequent updates (not now, but when the game is 1 – 3 months to release) would really help bring up the hype!

Robin Sibson. A brief description of natural neighbour interpolation. In Vic Barnett, editor,
Interpreting Multivariate Data, chapter 2, pages 21–36. John Wiley & Sons, 1981.

which also gives a good interpolation scheme for scattered data (based on Voronoi diagrams), assuming you have some way of estimating the tangent plane at your data samples. And once you have the tangent planes, the interpolant is very local.

By the way, Braid was just great. Thanks!

In other words, seeing you get excited about Braid is what makes game developers in the first place. Are you interested in making a game yourself by any chance?

… But enough about Bioshock Infinite. And for the lack of a better place (and since I’m already commenting on a post)…

I am a great fan of Braid. In fact, it’s safe to say that I love Braid as much as Tim loves the Princess – I could talk for hours about the meta-theme of obsession and how this… Work of art, dare I say it, was the only one that managed to TURN ME INTO a character, instead of just (and this is still quite something!) making me empathize with him/her/it. Last year, I wrote a 20-page paper on how Braid retells the myth of Prometheus for one of my college courses, and this year, I am working with a teaching assistant on writing an analysis of the game from the perspective of cognitive semantics (namely, conceptual and multimodal metaphors). I’m not trying to sound pretentious or anything – I’m just stating this as a testament of my love for the game. Having said that – if the things Jonathan has said and shown so far are any indication, I’ll soon be writing papers and losing sleep on The Witness, as well. Thank you for having the courage (and I believe this is the right adjective) to show the world that video games need not emulate other media in order to be meaningful and emotional, and that what is intrinsically their greatest strength – their interactivity – is all they really need to rely on in order to tell a story, provide an experience – in short, to communicate.

Looking forward to this one. Godspeed to the whole team.

Big fan by the way, please keep the good work.

You are not alone.