Puzzles do need to be a part of the narrative. That the, that the puzzle the player is solving it’s, it’s not just something that’s blocking access. It’s not just a key to a door. But the door is significant. Why are we getting through that door? Or more importantly, why does the character want to get through that door? If it’s just a door that’s blocking progress or it’s, you know, it’s impeding, you know, the player’s enjoyment of new art, then it’s not really a good puzzle, right? The player has to have a reason to want to go through that door. That’s kind of part of the narrative in a way. And, you know, a lot of the puzzles in Monkey Island were, you know, in the, in the first act really about Guy Brush wanting to be a pirate. So, a lot of the puzzles that he were solve, uh, that he was solving were driving that point forward. And they, you know, they weren’t just arbitrary puzzles, you know. Each of the puzzles was in some way kind of helping him, you know, become a pirate. Or it was helping define his character.So, when he would solve a puzzle you kind of realize a little bit more about the character of Guy Brush. And, so, then, again, that’s part of that drive, puzzles driving the narrative forward.
