Journey: A Critical Analysis

The Player Meets the Mountain

Intro

The buzz is still deafening. “Beautiful,” “evocative,” and “transcendental” are only a few of the accolades used to describe Journey, a game released by thatgamecompany mid-March of last year.[i] Since the game’s release, Journey won five BAFTA’s and six GDC awards, broke PlayStation sales records to be the “fastest-selling PSN game ever released,” and was also nominated for a Grammy.[ii]

This much attention merits a closer inspection—What exactly is Journey? Fan responses to the game, while filled with praise, typically leave the non-player in the dark: “I have just finished Journey. I can’t even describe how or why it moved me, but it’s changed my outlook of what a game can be.”[iii] The player makes no mention of graphics or party systems, topics which would seem important to discuss when speaking of a new multiplayer game. Instead, the player expresses the emotional impact he received from playing and a changed perspective of gaming.

Traditionally, emotional experiences have been reserved for the classical arts and perspective changes towards games have occurred due to technological advances. And yet, critics are still debating whether video games can be considered art and Journey brings forth no radical technological advances. So how can a game elicit an emotion response and alter gaming perceptions without new technology? This essay will delve further into this question and explore what made Journey a commercial success as well as what elements we can look forward to thatgamecompany improving upon in the future.

What is Journey?

Journey is the third installment of a three game contract between thatgamecompany and Sony Entertainment. The first two games, Fl0w and Flower also received critical acclaim and were created by Jenova Chen for the purpose of studying flow in games. Flow, as defined by psychologist Mihaly Csikszentmihalyi, is a “state of being, one in which a task’s difficulty is perfectly balanced against a performer’s skill—resulting in a feeling of intense, focused attention” [iv]. These first two games illustrate this principle aptly.

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Going Indie: Advice from the Pros

One thing that keeps popping up about this year’s Game Developers Conference (though frankly, I hear it said every year) is mention of the ever increasing presence of independent developers.

While one could argue all day long about what being “indie” even means (and many have done just that), everyone who attended GDC this year can agree that there were plenty of hobbyist developers, small teams, mobile developers, freelancers, and experimental projects to be seen.


Journey is not about the destination as much as the journey to get there.

For example, it was pretty hard not to notice the indie smash hit Journey, created by That Game Company, hauling in six of the eleven prizes at the 13th Annual Game Developers Choice Awards. When you’re up against Assassin’s Creed and Dishonored, that is no small accomplishment.
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My Top Ten List For GDC 2013 — Part 2

Games Development Conference 2013

Welcome to Part 2 of my GDC Top 10, featuring moments from the great, but exhausting, 2013 Game Developers Conference.  You can read Part 1 here.

But before I begin, here’s a photograph I’d like to dedicate to Bren Lynne, our programming instructor!

John Romero! …And some other guy!
John Romero! …And some other guy!

#5 Meeting Industry Heavies

You never know who you will bump into at GDC. I found myself riding the escalator next to John Romero, the designer of the original Doom. Doom was a very influential game for me personally, as well as a landmark in the history of games. It’s nice to meet someone you admire, and GDC has an atmosphere that makes it easy to approach anyone and start up a conversation.
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