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Come to think of it, there's Antichamber, a non Euclidean labyrinth based on Unreal Engine (4, I believe). As for how Jon Blow did it, I suspect having his own engine let him explore gameplay ideas more readily than using a generic one. The time travelling in Braid and all its variations would be pretty hard to bolt on a generic engine: it's not just rewind, it's partial rewind, with some entities being immune to the rewind. There's even a level where time goes forward and backward depending on the position of the main character. Go right, forward. Go left, backwards. For The Witness, it's a bit more subtle, but about a third of the game required pretty crazy 2D projective analysis of the 3D world (the "environmental puzzles", don't look them up if you don't want spoilers). While it didn't en up being central to the game, it was basically the starting point. The engines of Jonathan Blow's games are more central to their gameplay than for most games. Still bloody impressive, but probably less unnecessary than one might originally think. Also, Jonathan Blow has pretty strong opinions about game development, and I got the feeling that he disagrees with most generic engines out there. Working with them would probably caused suffering, whose cost he didn't want to pay. (Speaking for myself, my productivity drops pretty sharply when I spot stuff I too strongly disagree with, and I can't fix it.) |