One of the game's many sculptures.
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After 30 hours of intense play, I had not beaten The Witness, the latest video game from acclaimed designer Jonathan Blow. I'd reached an ending sequence, but I knew damn well the Myst-like game had more puzzles for me to solve. Three months later, between occasional returns to the game and a very recent speed run, in which I retraced my steps on its virtual island and re-solved most of its puzzles, I still have not "completed" the game, as far as I can tell.
At the moment, I have remained stumped about a few of its most intense puzzles, the ones still staring me in the face. That won't last too much longer, I imagine, because I will eventually muster the brainpower and discover some hidden in-game clues to beat them, or because I'll cave in and seek help from thousands of fervent fans devouring this long-awaited follow-up to indie classic Braid.
What will persist after that moment—after the final circle has been connected along the final line to the final neat-tipped conclusion on the panel—is a sensation that this video game is not meant to be "completed." I've made my peace with that belief after months of play, which has included many long walks along its beautiful environs, many reflections upon its toughest puzzles, and many questions about its mysterious decorations.
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