Jonathan Blow

Jonathan Blow (born 1971) is an American video game designer and programmer. He is best known for his work on the independent video games Braid (2008) and The Witness (2016).

Jonathan Blow
Born1971 (age 50–51)
California, United States
NationalityAmerican
Alma materUniversity of California, Berkeley (dropped out)
OccupationGame designer
Programmer
OrganizationThekla, Inc.
Known forBraid, The Witness, Jai Language
Websitehttp://number-none.com/blow

Born in California, Blow developed a passion for game programming during middle school and later pursued a double degree in computer science and creative writing at the University of California, Berkeley. He dropped out of college and briefly worked as a software developer before he started a game company with a friend. Once the company closed a few years later with the dot-com bubble bust, Blow worked as a game development contractor. He co-founded the Experimental Gameplay Workshop and wrote a monthly column for Game Developer before he started part-time work on Braid in 2005. The game was released in 2008 to critical acclaim, made Blow a millionaire, and is often credited with catalyzing a period of independent game development in the years following its release.[1] He co-founded investment organization Indie Fund, and is one of the subjects of the 2012 documentary film Indie Game: The Movie.

Blow began work on The Witness shortly after the release of Braid, using most of its revenue to fund development. Blow hired many people to work on The Witness full-time, forming the company Thekla, Inc. in the process. After more than seven years of development, the game was released in 2016 to critical acclaim. It was financially successful, and received several nominations for British Academy Games Awards and Game Developers Choice Awards. During development of The Witness, Blow became frustrated at using C++ to program its game engine, and began designing and creating a new programming language for game development. Full-time work on the language, codenamed Jai, and a new game written in the language, began in 2016. By working on both Jai and the game at the same time, Blow is able to test out the design of the language, improve it early in its lifetime, and demonstrate the capability of the language.[2] Jai has been released in a closed beta, and in December 2021 its compiler reached beta version 100.[3]

Early Life

Jonathan Blow was born in Southern California in 1971.[4] His father worked as a defense contractor for TRW, and his mother was an ex-nun.[4] He has an older sister.[4] Blow attended middle school in Northern San Diego County.[5] While there, he attended a fifth or sixth-grade computer class with Commodore VIC-20s which provided him with his first introduction to programming and computers.[4][5] Blow said "That was my favorite thing at school. I got it right away."[5] When his parents noticed that he was very interested in computers, they got him a TRS-80 Color Computer, on which Blow learned how to program in BASIC, often from exercise books from RadioShack.[6] In high school he also programmed games on a Commodore 64.[7][4] Some of the games he programmed were inspired by Indiana Jones and Pac-Man.[4][8]

Blow attended UC Berkeley as an undergraduate in 1989,[9] majoring in computer science and creative writing.[10] He was a member of the university's undergraduate computer science association, the CSUA, going on to become a president of the club.[11][12] Blow said he wrote some science fiction during college, although published it under a pseudonym.[13] His favorite game in college was a game made by some fellow UC Berkeley students called Nettrack, which Blow described as "like playing football with Star-trek ships".[14] He spent five years at UC Berkeley,[4] but dropped out with less than one semester to go.[10] When asked about why he left, Blow said "I was really depressed about being at school, I didn't like it. I didn't have a good time."[15]

Career

1994–2000: Career beginnings and Wulfram 2

After leaving UC Berkeley, Blow worked at a "really boring" enterprise software company for six months,[16] before taking up a contracting role at Silicon Graphics. There he ported Doom and Doom II to a set-top box.[17] Blow noted "trying to play Doom on a TV remote is terrible, but I had it working."[18]

Around February 1996 Blow started a game company in Oakland with a friend from college using $24,000 of savings.[19][20][4] They worked on a game which Blow described as an "online-only, 32 player drop-in drop-out science fiction hovertank combat game".[21] The game was playable in 1997, and they kept working on it to make it better.[22] The name of the game went through several name changes, the final version of the game on the internet was called Wulfram 2.[23] The company signed the game with Total Entertainment Network, which made the game available through a subscription service.[24] Blow said the contract "kept us alive at subsistence level for some amount of time".[25] After TEN was shutdown in 1999, Blow brought the game to Interactive Magic.[26] Blow said his company lasted until the dot-com bubble bust of the early 2000s,[27] after which a former business partner of Blow ran the game for free on the internet.[28]

In a 2020 interview, Blow said he was convinced that 1996 was the hardest time in history to start a video game company, because of the transition from 2D to 3D titles.[29] A number of components of the game were challenging to implement, but Blow learned a lot from the experience. He summarized "we went broke, and I was burned out for several years after that from working hard... but that's how I became a good programmer."[30]

2001–2004: Contracting work

After Blow closed his first studio, he did contracting work with a number of game studios with larger budgets. Games he worked on included Oddworld: Munch's Oddysee, Deus Ex: Invisible War and Thief: Deadly Shadows.[31] In 2002, together with Chris Hecker, Doug Church and Robin Hunicke, Blow co-founded the experimental gameplay workshop at the Game Developers Conference.[32][33] Around this time, he also wrote The Inner Product, a monthly column for magazine Game Developer.[4][34]

During part of this time period, Blow moved to New York City where he was introduced to an IBM research project about servers based on cell processors, which IBM had partly developed.[35] Blow pitched them a proof of concept of a physics-intensive online multiplayer game about giant robots attacking a town.[36] The idea was that the server would run the physics simulation of the game and then send the results to the clients. The robots in the game, for example, moved not through fixed animations, but by physics simulation of forces applied to the robots' joints. The players could shoot and destroy these joints, and the game's server would simulate the results.[37] Blow and Atman Binstock did most of the programming of the game, [38] Blow writing the client-side code, graphics, and gameplay, while Binstock wrote the physics engine to run on the server from scratch.[36] After submitting their final report to IBM, the team tried bring the game to EA, but Blow said "they were like, 'Yeah, we're not impressed'".[39]

Further contract work for Blow included particle effect programming on Flow (running on the PS3, which used the cell processor), and code review when MTV purchased Harmonix "to make sure there weren't legal landmines" in the company's code.[40] Blow said of this part of his life "I didn't really know what I was doing in life yet, I was just stumbling forward like people do sometimes, and doing the best that I knew how to do, which at that time was programming."[41]

2005–2008: Braid
Main article: Braid (video game)

The 2D puzzle-platformer Braid (2008) was a landmark of independent game development. Released on the Xbox 360 through Xbox Live Arcade (XBLA), the game was "an immediate sensation",[1] and a critical and commercial success. Braid demonstrated that it was possible for indie developers to release games on storefronts (instead of through publishers) and remain financially successful.[42] The game "is often credited as the catalyst for the indie [game] boom of the following years".[1]

In Braid, the player solves puzzles using a combination of platforming gameplay and the ability to rewind time. The puzzles typically require the player to figure out how to move the player-character to the jigsaw pieces located throughout the world. Rewinding time is usually an essential part of the solutions to the puzzles, and the precise mechanism of the rewind changes throughout the course of the game. The plot of the game is told through a combination of textual exposition between worlds, environmental art, and gameplay. The story initially appears to be about the protagonist searching for a princess, although Blow stated that the narrative was "big and subtle and resists being looked at directly."[43]

Blow created a prototype for Braid in December 2004, and begun work on the game proper five months later. Much of the work was part-time as Blow also did consulting work for income and invested time into martial-arts training. By December 2005 Blow had finished the first version of the game, however he felt the graphic art "looked extremely amateur". After many "false starts" trying to find a good artist, he hired David Hellman, who would eventually create all of the game's art. For the game's fiction, Blow drew inspiration from a variety of his favourite books and films such as Invisible Cities and Mulholland Drive. Blow used licensed music for the game as this allowed him to choose high-quality long tracks which worked well with time reversal while reducing development costs.[44][45]

In mid 2007 he signed with Microsoft to release the game on the Xbox 360's Xbox Live Arcade. Blow felt that time spent meeting the XBLA certification process would have been better spent polishing the game, but said "for the most part, working with Microsoft has been great". He noted that Microsoft was "very hands-off" with respect to game design, and that "the final game is exactly what I wanted to put there".[46] Blow estimated that he spent more than $180,000 of his own money to develop Braid.[47]

The game was released digitally in August 2008 to critical acclaim and commercial success. The Xbox 360 version holds a score of 93 on review aggregator Metacritic,[48] and the game sold more than 55,000 copies during the first week of release.[49] The game made Blow a millionaire.[50] Available only through download, the game represented an early shift in videogames from physical to digital stores.[51] The success of the game inspired many other indie developers, in particular a designer at Supergiant Games said the studio wouldn't exist without the success of Braid.[42] By 2010 some other indie games had also found commercial success, leading Blow to cofound Indie Fund in 2010. Blow was featured in the documentary film Indie Game: The Movie, where he discusses his experiences developing and releasing Braid. By mid 2012 the game had sold more than 450,000 copies, and in 2014 Blow stated that sales had brought in more than $4 million in revenue. Blow used most of the revenue to fund The Witness.[50]

2009–2016: The Witness
Main article: The Witness (2016 video game)
Blow at GDC Europe in 2011

Blow's next project was The Witness (2016), a first-person game in which the player explores an island while solving a large variety of puzzles on panels. The panel puzzles require the player to draw a path on the panel, and the puzzle is solved if the path satisfies a number of rules. Blow desired to create a game utilizing non-verbal communication, and as such, the puzzle rules are never explained with words. Instead, the puzzles themselves teach the player the rules. Blow felt that solving puzzles in this way could generate epiphanies for players, and tried to design the game so that the player experiences "miniature epiphanies over and over again".[52] The game includes around 650 panels, and Blow estimated that solving every puzzle in the game would take more than 80 hours.[52]

Work on The Witness began shortly after the release of Braid in 2008. Blow created prototypes of several different game ideas before choosing the one he liked the most, despite it being a 3D game which he "absolutely didn't want to do".[53] Throughout development, Blow hired people to work on the game full-time, forming the company Thekla, Inc. in the process, which he is president of.[53][54][55] By the time the game was revealed to the public in 2010, three people were working on the game full-time, and by 2015 this number had grown to eight.[53][52] Blow had hoped to release the game as a launch title for the PS4 in 2013, however work on the game continued until its release in 2016. At the time, it was virtually unheard of for an small independent game studio to spend more than seven years on a game.[52] Blow said that The Witness ending up being "a much bigger game than I thought", and that "as long as it looked like we were going to have the money and time... we decided to make it the best thing we can."[52]

The game was released on Windows and the PlayStation 4 in January 2016 to critical acclaim and commercial success. The Windows and PS4 versions hold scores of 87 on review aggregator Metacritic,[56][57] and several popular gaming publications awarded the game perfect scores.[58][59] The game received several BAFTA and Game Developers Choice Awards nominations.[60][61] The Witness debuted at $39.99, a price point that was met in some gaming forums with outcry.[62] Blow stated that the price point was "fairly reflective of what the game is", [62] and journalists noted that other independent games of a similar scope and quality debuted with the same price.[62][63] Blow reported that the first week sales revenue of The Witness totaled over $5 million USD, and that it had sold more than 100,000 units.[64] Blow noted that after release The Witness was one of the top downloads on illegal BitTorrent websites, and was pirated "just as heavily" as Braid.[65] He noted that piracy "will not help [Thekla] afford to make another game! :("[65]

2017–present: Untitled Programming Language and Untitled Sokoban Game
Blow at the 2018 Gamelab Conference

Towards the end of development of The Witness, Blow began to become frustrated with C++, the language the game's engine was written in. While he liked recent feature additions to C++, he felt they "were encumbered by the rest of the language" and thought that C++ had "reached critical complexity".[66] He considered switching to Go, D, and Rust, but thought that each had its drawbacks.[66] Blow felt it would be possible to create a new programming language for game development which would increase programming efficiency by at least 20%, and make the job more enjoyable.[66] Further, he predicted that it would actually be easier to make a new programming language for professional game engine programmers than to make a videogame.[67]

In 2014, Blow begun work on designing and programming the new programming language, which has the codename Jai. When asked about the real name of the language in 2020, Blow noted that in many projects "people put all their effort into the cool name" before a project has had much effort put into it, and that he is "doing things in the opposite way".[68] For about a year and a half work on Jai was part time since Thekla was shipping The Witness during that period.[2] It was around the middle of 2016 when full time work on Jai and a sokoban game whose game engine is written in Jai begun.[2] By working on the sokoban game, its engine, and Jai at the same time, Blow is able to test out the design of Jai, and adjust it early in its lifetime to make it better. Blow has noted that no previous programming languages have debuted with a piece of software in that language as large and complex as a game. By doing so he is able to demonstrate the capability of the language.[69] During a 2018 conference talk Blow demonstrated that a clean non-optimized compilation of the 80,000 line sokoban game took less than two seconds on his laptop.[70] Blow predicted that as work on the compiler continued the compilation rate would increase significantly, with a target compilation rate of a million lines of Jai per second for a clean non-optimized build.[70] Blow intends to release much of the source code of the sokoban game upon release, and said Thekla is trying to structure the code of the game to be "very malleable", so that when it's released it can "provide an in for people who actually want to start experimenting with a program."[71] The Jai compiler reached beta version 100 in December 2021, and is currently in closed beta.[3]

If we can make a commercial quality game which ships on consoles and PCs, that's as good as anything we've ever made or better, that at least shows you that this programming language at least works well enough to do that, which is something that no other programming language has ever done.

— Jonathan Blow, May 2021, [69]

The sokoban game combines puzzle elements from a variety of other sokoban games, as well as adding elements of its own. For example, the majority of characters from Jonah Ostroff's Heroes of Sokoban trilogy appear in the game, as do the lilypads and skipping stones from Alan Hazelden's Skipping Stones To Lonely Homes. By combining so many puzzle elements together Blow is able to "explode out the combinatorics [of the puzzle space] even way further than The Witness did."[72] As of May 2021, the sokoban game has over 700 levels, and Blow stated that it will probably have more than 1000 upon release.[73] Work on the sokoban game, its engine, and Jai are regularly streamed by Blow on his twitch channel.[74]

Long-term project

Since 2012 or 2013, Blow has been working on a separate project that will be broken into different installments and elaborations on the same game over the course of 20 years, making it bigger and more complex. They will be individual playable games, each related thematically and deepening in investigation of subject matter for each chapter. Blow stated that the game would not be puzzle-related and that it would be built with the Jai language and engine.[75]

Other work

In March 2010, Blow, along with several independent game developers including Ron Carmel and Kellee Santiago, became a founding member of the Indie Fund, an angel investor fund for independent game projects.

In 2012, Blow was one of the subjects of the independent documentary film, Indie Game: The Movie, where he discussed his views on the role of independent video games and his work on Braid.

Views on videogame industry

Blow has spoken many times about his views on independent video games both in interviews and in public speeches, although he has said on his blog[76] that he has gotten what he wanted out of conferences from speaking at them. For his sometimes controversial views, he has received praise, notably being called "the kind of righteous rebel video games need"[77] and "a spiritual seeker, questing after truth in an as-yet-uncharted realm."[4]

Blow often speaks of the potential for games to be more. He has said that he tries to make games that are more adult for people with longer attention spans[77] and noted that games could have a "much bigger role" in culture in the future, but current game development does not address this potential, instead aiming for low-risk, high-profit titles.[78] As a former physics major, Blow has expressed that games could examine the universe in similar ways that a physicist could.[79]

In referring to the progression of development in his games, Blow stated at the PlayStation Experience that he prefers to, "keep them playable and just make them better." This was stated during the live-cast panel while overseeing Justin Massongill on the playable demo.[80]

Blow has spoken out against some games for immoral game design. On World of Warcraft, he has said it causes societal problems by creating a false image of the meaning of life, calling it "unethical."[81] On FarmVille, he has said that the design of the game reveals the developers' goal to degrade the quality of players' lives, ultimately calling it "inherently evil."[82]

Despite Braid's success on the platform, Blow has claimed that Microsoft's Xbox Live Arcade certification process would turn away developers because "they kind of make themselves a pain in the ass" and that they would lose market share to Steam as a result.[83]

Blow is a member of Giving What We Can, a community of people who have pledged to give at least 10% of their income to effective charities.[84]

References

Citations
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  13. Blow, John (September 27, 2010). Games and the Human Condition (YouTube video). Retrieved April 23, 2022. I used to when I was early in college, you know I wrote a little bit of science fiction and got some stuff published, it's under a pseudonym so you can't look it up.
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  67. AIAS 2021, 55:18.
  68. On the Metal 2020, 1:34:10.
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  76. Blow, Jonathan (May 29, 2012). "The Depth Jam". The Witness. Retrieved January 19, 2018. After about eight years, though, [being a conference presenter] ran its course and I had gotten the bulk of what I was going to get from this arrangement.
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  81. "MIGS 2007: Jonathan Blow On The 'WoW Drug', Meaningful Games". Game Developer. November 28, 2007. Retrieved January 19, 2018.{{cite web}}: CS1 maint: url-status (link)
  82. Caldwell, Brandon (February 15, 2011). "Jonathan Blow interview: Do you believe social games are evil? "Yes. Absolutely."". PC Gamer. Retrieved January 19, 2018.
  83. Nutt, Christian (August 11, 2011). "Interview: Jonathan Blow – Xbox Live Arcade 'A Pain In The Ass' For Indies". Game Developer. Retrieved January 19, 2018.{{cite web}}: CS1 maint: url-status (link)
  84. "List of Giving What We Can Pledge Members". Giving What We Can. Retrieved October 12, 2021.{{cite web}}: CS1 maint: url-status (link)

Sources
  • Danny O'Dwyer, Jeremy Jayne (producers) (April 2, 2017). The Witness Documentary (YouTube video). Noclip - Video Game Documentaries. Retrieved April 22, 2022.
  • Bryan Cantrill; Jessie Frazelle (January 26, 2020). "Jonathan Blow". On the Metal (Podcast). Oxide Computer Company. Retrieved April 22, 2022.
  • Steve Gaynor (February 15, 2014). "Jonathan Blow". Tone Control (Podcast). The Idle Thumbs Limited Liability Company. Retrieved April 22, 2022.
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