![]() And by releasing the game with that narrative wrapper, it implicates the “real” audience of The Beginner’s Guide. I think the part where it fell flat for me is that at a certain point that Wreden-the-game-creator-creating-for-an-audience started to conflate himself with an actual audience. But it struck me as a book about writer’s block! I think there’s a really great conversation that’s going on in there that I loved for about 3/4 of the way through: it’s about a game creator creating for the self and a game creator creating for an audience. ![]() PK: Coda is Wreden for sure, no matter the waffling in some reviews I’ve read. JC: I agree with you that it’s operating as more of a self-reflection, but I’m curious as to who Wreden is trying to find in the mirror. I was going to say between the artist and himself, but I didn’t want to exclude everybody who worked on it-though it’s definitely his ship. PK: Because then it could have existed as a pure conversation between the team and themselves. Josh Calixto (JC): What makes you say that? ![]() Paul King (PK): Not a dig: I think The Beginner’s Guide should have never been released. After Kill Screen writers started completing it, they huddled in corners to unpack the experience. It’s a quick and thought-provoking game, one that reveals its secrets quietly to players and leaves ideas rattling around in the player’s head. Davey Wreden quietly released The Beginner’s Guide, his follow-up to The Stanley Parable.
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