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In this series, we're following the individual threads of art, writing, game mechanics, level design, etc, and seeing how they all come together to reinforce the core message of Jonathan Blow's 2008 game. In this episode: 0:50 -- How the dining-room artwork hints at the themes of slow-motion, formality, and social alienation that suffuse World 6. 3:55 -- Analyzing the unusual title and text of "Hesistance". 15:19 -- Getting into the puzzles and level design... starting with an unusual non-puzzle! then talking about how the early levels of World 6 all call back to similar puzzle designs in World 3. 21:12 -- What can we make of World 6's alien, hyper-formal art style of marble statues in a city at night? 21:54 -- getting into the puzzles for real this time, with the very tricky stuff that starts in "Cascade" and continues through "Impassible Foliage", "Elevator Action" (perhaps Braid's hardest level?), and "Another Castle" 49:10 -- WHAT IS UP WITH ALL THE HATS?? It might seem like you've started playing Team Fortress 2 instead of Braid, but the strange marble statues of hats and uniforms that decorate World 6 are communicating an important philosophical idea -- a sort of terror at the many different life paths that one could take, and the uncertainty and doubt that we all face when trying to decide who to be and what to do in this one life of ours. 57:17 -- World 6's painting -- IMO the most interesting, relatable, and evocative painting in the game. For much more about Braid, The Witness, and other great games, see my website at https://jacksonw.xyz/ !