There’s what I call “good mystery” and “bad mystery,” right? So, when you’re dealing with a game, uh, the - the bad mystery is “How do I do this?” right? And the good mystery is, “Oh, what’s out there to do?” right? So, there’s this tension - you want to figure out in your game what is the thing that keeps players from having the good mystery. Um, because if they’re sitting around just going, “I don’t know; I don’t know. What am I supposed to do? I - I don’t get what’s supposed to happen.” Then they’re not in the game. They’re in the interface, right? So - so I like to think about it as, you know, finding just the right amount of, um, sort of instruction to set them into the place where they can have the good mystery. The, sort of, interesting questions about, “Why does it do that?” “Why is it - oh, I see, when I click this and it does this,” and “I’m going to be able to grow that,” or do this thing and that’s the good part of not knowing what a game does because, you know, if you instruct too much, um, then you’ve - you’ve actually, um, diminished the possibility space for the player. So, you want to - there’s this very fine line between, uh, “I have no idea what I’m supposed to push,” and “I don’t know how this works but I’m intrigued by it.”
