[Pre-post plug: The newest issue of MIT Technology Review/Alumni News has two pieces of Mystery-Hunt-related content. My once-dormmate and now-Setec-teammate Clint Lohse wrote a feature article on the history and current state of Mystery Hunt, and I’ve hijacked the latest edition of Puzzle Corner with a miniature puzzlehunt designed for casual solvers. Check them out and enjoy!]
I’ve had fragments of an essay tumbling around my head for months, since the most recent Brown Puzzle Hunt, about binding choice in puzzlehunt structure design. For the rest of this post, let’s define “choice” as any hunt mechanic where teams make irrevocable decisions that determine how they progress (particularly in terms of puzzle/answer availability). This is a specific example of player agency in interactive media, which Michael Filimowicz defines as “the ability of a user to make choices and take actions that affect the outcome of the experience.” (This was just one of the first references that came up when I Googled “agency,” but this guy has a PhD so he must know what he’s talking about, right?)
Choice is a topic I’ve had opinions about for years, as it comes up almost every time I’m on a team that writes for Mystery Hunt. Despite having a lot to say, I’ve been procrastinating getting this down on (digital) paper, but three things have already come up this month that relate directly or tangentially to this topic:
- I played an escape room that had a major choice toward the end that significantly affected both puzzle and story content, which significantly impacted my opinion of the room.
- I’m looking forward to Death and Mayhem’s upcoming 2025 Mystery Hunt, and they happen to be the last team (I think) to feature choice in their Mystery Hunt structure.
- Game designer Ken Levine did an interview where he compared the designs of his upcoming game Judas and his earlier game BioShock, and he referred to the latter somewhat dismissively as a “corridor.” (There will be some BioShock spoilers later on; I promise I’ll warn you when they’re coming.)
You might guess from my emphasis on words like “binding” and “irrevocable” that I tend to lean toward the anti-choice side of the fence (as long as we’re talkin about puzzlehunts and not reproductive rights). And it’s true that every time a co-constructor has proposed a “choose your own adventure” or analogous Mystery Hunt structure, I tend to respond with a laundry list of risks and consequences. But different levels of choice have been used in various puzzle event with different levels of success. So having thought about this a lot, I want to start by talking about the general pros and cons of choice in puzzle event structures, and then look at some specific examples and what can happen in practice.
Rewards
I said that choice is a type of agency, and agency is rarely brought up in design conversations as a bad thing. If you’re doing something interactive, you probably want that experience to respond to your interactions, and game players rarely want to feel like the game is playing them. I think it’s pretty understandable if watching a three-minute cut scene and then walking forward for twenty seconds to trigger another three-minute cut scene is not your cup of tea. If it is, and you haven’t played Kingdom Hearts 3, have I got the video game for you.
So a clear advantage of choice is giving the user the chance to shape their experience, both in terms of content and story. If you build your event around a static story, solvers may feel like their “characters” are locked onto a track, and worse, they might feel like they were forced to take actions they wouldn’t have wanted to take. A story with decision points increases the probability that the chosen story will feel authentic to the user’s perception of their character (as long as all of the story options are coherent, which I’ll get to.)
That said, for many puzzlehunt solvers, the story is background noise since they showed up to, well, solve puzzles. I care a lot about puzzlehunt story in theory, but multiple recent Mystery Hunts have buried significant plot development in videos lacking puzzle content, and I admit that the longer I’m required to stop solving puzzles to follow the story, the more likely I am to give up on it. (I’m getting off topic, but for future Mystery Hunt story writers, imagine that a team member went to sleep for eight hours and asked for a quick update when they get back to HQ; if their teammate can’t relay the story state in a few sentences, most of your audience is likely to lose the plot at some point.)
So what are the advantages in terms of content? A good puzzlehunt is like a buffet, and I don’t know about you, but when I go to a buffet I don’t get one of everything. I choose the things I want to eat most. So with a choice mechanic where you have the ability to decide what puzzles (or how many puzzles) are in front of you and when, you can potentially make the hunt more enjoyable. There’s plenty of precedent for this in video games; games like Dishonored and Hitman have level goals where you have to get rid of a target, but you might be able to do so by running in weapons blazing or by interacting with other characters to set up a scenario where the target puts themselves in danger. These branch points allow the game to adapt to the user’s play style and become the game they are most likely to want to play.
Risks
There are positives to having choice that affects both story and content, but there are also negatives. When it comes to story, avoiding negative effects is a burden on the designer. If you’re going to allow the user to follow more than one narrative, you have the responsibility to make them all good (and logical) so the user doesn’t feel like they’re missing out. The stakes are higher for puzzlehunts than for video games in that many consumers buy video games intending to play them more than once, so if there is more than one parallel story available, you can experience them all given enough free time. Puzzlehunts have less replay value; even if you have the hunt available to “play” after its competitive period, if you’ve completed the hunt once you’ve probably solved most of the puzzles, so there isn’t much point in a second run. As a result, the story you choose is the story you get, and if the choice is binding, you’re locking yourself out of a story you might have wanted to experience.
Earlier I mentioned an escape room I played this week (my 99th… cake soon!). I’m not going to name the room or company to avoid spoilers, but feel free to follow up privately if you’re curious. It was a room I mostly enjoyed, and we also did a holiday-themed room first that surpassed my expectations, but in the second room they applied choice in a way I found clumsy. The goal of the room was to investigate five leads (which had associated symbols and miniature statues in the room in some nice examples of signposting). Once we completed the third lead, we triggered an announcement that we could choose one of the remaining leads, which was longer and harder, or the other, which was shorter and easier. The message also suggested that if we weren’t sure, we could ask the game master for advice. We still had half our time left, and we like hard puzzles, so we didn’t ask for advice.
After finishing the harder lead by completing a set of four parallel puzzles and one capstone puzzle, a door opened and we were done. Okay… but what about the fifth lead? We were told you could play the room again at half price to solve those puzzles, an option I knew about in advance, and the game master generously let us glance at the other room when we confirmed we wouldn’t be paying for another attempt. Here’s the problem, though: unless I missed some sort of storyline explanation in the room, leaving after four tasks was completely inconsistent with the stated room goal, and when I asked why we’d leave without completing the final objective, the game master had no coherent answer. This was clearly a mechanic that was introduced with content variability (and potential extra income from replay value) in mind, but without a lot of care toward story implications. As a result, at the end of the room I was confused rather than triumphant, and that’s probably not the impression you want to leave as a designer.
Using choice to affect content delivery can be more problematic in a puzzlehunt, which is why I’ve opposed it for potential Mystery Hunts. Earlier, I compared the appeal of content customization to a buffet, but an inherent trait of many puzzlehunt puzzles is that you can’t immediately tell what the puzzle is going to require. When offering a choice, you can’t tell players that one option is a puzzle where you need to know about the White Stripes if part of the puzzle is figuring out that you’ll need to know about the White Stripes. This makes it almost impossible to offer a content choice without hiding useful information. Different puzzlehunts have taken different approaches to what information is provided to guide a choice, and I’ll talk about those below, but any choice is likely to be a mystery crate to some extent, and there’s a reason those are usually discounted. You could argue that one makes the same semi-blind decision when picking which puzzle to spend your time working on, but the difference is that after making that decision, you can abandon ship and go back to something else. In contrast, a binding choice based on incomplete information is a recipe for buyer’s remorse.
Another issue depends on whether you care about the competitive side of puzzlehunts (I still do, but I feel like an endangered species sometimes). Most puzzlehunts expect competitors to solve a majority of the provided puzzles, and unless it’s 2017, it’s inevitable that most if not all of the top contenders will get bottlenecked at some point. But when that bottleneck happens can potentially decide who eventually wins the hunt. If one puzzle or round is extremely difficult (maybe more difficult than the constructors anticipated) there’s a huge difference between opening that content first when it’s all you have versus later on when you can keep solving other puzzles while chipping away at the wall. If two teams are effectively picking randomly between two paths because of the incomplete information issue described above, and one of them picks the harder path without any way to know it was the harder path, there is no longer a fair fight. And even if the constructing team has superpowers and somehow manages to set all of the elements to have equal difficulty, there still may be a perception of unfairness, since like an episode of Jeopardy! watched from home, every path you didn’t take seems easier when you’re not the one doing it.
Past Examples
2004 MIT Mystery Hunt (Time Bandits)
Choice: Order in which to open rounds 2-7
Information provided: Numbers and map locations attached to each round
2004 was not long after solves-unlocking-solves was introduced as a Mystery Hunt mechanism. Prior to 2003 (The Matrix), puzzles were generally doled out as complete rounds, a more discrete structure that has been mostly absent since, with the exception of 2016 (Inception) when full rounds were given out due to technical difficulties. 2004 introduced the innovation that solvers could decide over the phone which round to open next… but this mechanism and its consequences may not have been as clear as the French Armada (slash Alice Shrugged slash ATTORNEY) intended.
The first round was labeled “Location 5412” on the Hunt map, and since the other locations were labeled 5413 to 5418, the constructors figured teams were likely to open them in numerical order. However, when Setec finished the first island and was called and asked where we wanted to go, we saw a path on the map from 5412 to 5418, and we didn’t even realize there was a choice. We effectively thought we were being quizzed on the map and chose 5418, which may have been the hardest round. 2004 proved to be the longest and most challenging Hunt to date, although that is generally attributed to some questionable writing and editing choices, rather than round order variance. But it’s impossible to say for sure whether round order choice had an effect on the result, and I’m not a fan of competitions with unmeasurable factors (even though my team won this Hunt).
2018 MIT Mystery Hunt (Inside Out)
Choice: Order in which to open rounds 2-5
Information provided: Cryptic description of the round theme and structure (and how much round content was on campus)
Round order choice didn’t return to Mystery Hunt until fourteen years later, but at that point there was a lot more documentation (which I attribute partially to Death and Mayhem being on top of things, and partially to Hunt in general having a lot more documentation in the 2010s compared to the 2000s). It was made very clear that you were choosing which order to open rounds, though it was not advertised how much you would need to do before opening another. There was also some flavor suggesting how much on-campus presence would be necessary/helpful for each round (this may have been the first Mystery Hunt to allow entirely remote participation) and some other intentionally vague description that foreshadowed the round’s theme and/or structure.
While it was nice to have some information guiding the decision, it was still a mostly blind choice; in fact, I incorrectly remembered knowing the explicit round themes when we chose (Sci-Fi, Hacking, Games, Pokémon), and looking back at the Hunt archive, we were actually choosing between the shiny, byzantine, dark, and secret islands. We certainly couldn’t gauge difficulty from the descriptions, and I don’t feel like randomly opening Hacking Island before Games Island rather than the other way around made me feel more in control of the story or of content dispersion. It’s impossible to say for sure whether round order choice had an effect on the result, and I’m not a fan of competitions with unmeasurable factors (even though my team won this Hunt).
Puzzle Boat 4 (The Amazing Race, 2017, paywalled)
Choice: Order in which to open certain pairs of puzzles (“Detours”)
Information provided: Puzzle genre
For anyone who hasn’t watched The Amazing Race, ever or recently, a Detour is a choice between two tasks, each with its own pros and cons. On the show, most of the tasks teams have to complete are presented in a linear order, except in the case of a Detour, where teams have to decide based on limited information which of two challenges they should tackle, and the consequences are theirs to face. In Foggy Brume’s Amazing-Race-themed Puzzle Boat, most puzzles were indeed unlocked in a fixed order, but now and then teams were faced with a Detour and were asked if they wanted to open, say, a dropquote or a logic puzzle. The puzzle not chosen would show up much later in the release order, so whatever teams chose was prioritized for release.
This example is, for me, the gold standard of choice in a puzzlehunt. The consequences of a “wrong” choice are relatively minor, as puzzles come at you fairly quickly in Puzzle Boat, and the probability that one tough puzzle results in a bottleneck is low. Teams were also not being asked to make a totally random choice, as they were told the nature of the puzzles they would be choosing between. (This is an easier mechanic to put into Puzzle Boat than, say, Mystery Hunt or Galactic, where chicanery is expected and puzzle genres are more likely to be stealthy.) And above I discussed how a puzzle-oriented choice can potentially break story and immersion. But in this case the choice is exactly what you would have to do in the actual Amazing Race. Ultimately this was a low-stakes mechanic that supported the theme and played with structure without setting players up to regret their decisions. Loved it.
Brown Puzzlehunt 2024 (Bluenoir)
Choice: Order in which to open all puzzles/microrounds, with several options available at each unlock
Information provided: Puzzle title and round
One minor quibble about the Detour unlock is that since most Puzzle Boats involve “meta matching” (deciding which puzzle answers ultimately go together to form feeders for a given metapuzzle) there was no way to prioritize the puzzle most likely to be useful for the meta you were making progress on. The overall structure of this year’s Brown Puzzle Hunt involved “files” sorted into three “cases” (rounds with metapuzzles). I hesitate to just refer to files as puzzles because some of them were collections of multiple puzzles with separate links and titles. But then again, it’s not uncommon these days for a single puzzlehunt puzzle to be a minihunt with individual component puzzles and sometimes even answer checking. “What is a puzzle?” is probably a post theme for some time in the future.
I definitely appreciated the round information on the unlocks; especially late in the hunt, it was helpful to know which puzzle was the one we needed to get to a metapuzzle we hadn’t opened. However, having every puzzle’s unlock order be variable meant the overall puzzle order was extremely random and could have easily affected bottlenecking and hunt difficulty. In particular, the very first puzzle we chose to open was Boo York Times Games, a lovely mini-suite of interactive puzzles representing deranged variants of NYT Games mainstays (Wordle, Connections, and Letter Boxed). These puzzles were delightful and, at the time we unlocked them, malfunctioning horribly. (The Connections puzzle often took 5-10 minutes to restart, and the solving process required a lot of restarting… we actually reached the point where we knew exactly which actions would complete the puzzle, but the puzzle wouldn’t reload, and we had to e-mail HQ and ask them what would happen if we [performed precise sequence of button presses].) We definitely had a worse experience with those puzzles than we would have if we’d opened them later, and that’s one of the potential hazards of choice; this blind decision gave us a harder hunt (for unintentional reasons) than a team that made a different blind decision, and those are the consequences of significant choice that don’t sit well with me.
As a side note, I want to say that both Brown Puzzle Hunts have exceeded my expectations, although I still think their complexity has been on the high side if a goal is to initiate newb students into puzzlehunting. I’m inherently biased because it happens at my workplace and I’d like that to continue, but if these hunts have flown under your radar, they are well worth your time.
The Inevitable Hint Currency System In Most Modern Puzzlehunts
Choice: Which puzzle to spend a hint token on
Information provided: The puzzles
Having grown up with Mystery Hunt in the 2000s, I have two very strong beliefs about hinting in Mystery Hunt, which also apply to a lesser extent to smaller hunts. First, teams that are not going to win should be able to get customized hints if they want them. And second, if at all possible, the team that wins should not receive hints (or equivalently, hints should not affect who wins). I’ve had my share of occasional friction with members of the current puzzlehunt community, a.k.a. you kids on my lawn, but I think we’re mostly in agreement on the first statement. On the other hand, I think back in the day there was consensus on the second point, but widespread taste is starting to lean toward aggressive hinting, potentially including teams in contention to finish first.
One of the problems with hints in a competitive environment is that they’re inherently asymmetrical. In most recent puzzlehunts, hint interactions consist of a conversation with a human about what the solver has done, resulting in a response to try to get them unstuck, possibly along with additional follow-up discussion. But this means the value of the hint will vary significantly depending on who’s providing the hints. (In 2003, when Hunt was running very long; we were given a rotating cast of in-person hint providers, and some hinters were way more generous than others.)
An alternative is canned pre-written hints, which seem more equitable on the surface, but such a hint will be extremely useful if you’re stuck on the aspect of a puzzle the constructors expected, and useless if it doesn’t address the problem your team is having. The Microsoft Puzzle Hunt has used a hint system where the canned hints are labeled with what they address, but it’s very hard to do this without spoiling the structure of the puzzle.
For the 2017 Mystery Hunt Setec tried using a hint mechanism where hint currency granted the right to ask yes/no questions. (We stole this idea from 2013, though it wasn’t always implemented perfectly that year; we were working on our last meta, asked a question to confirm progress, and were told “No.” Then we were called back and told, “Correction, yes.” It was not a complicated question.) I hoped this might help to standardize the value of hints, since teams would know exactly what information a token was going to get them. In practice, very few teams used this mechanic, because there are very few scenarios where a yes/no answer is likely to help you solve a puzzle. It’s best if you’re trying to confirm or dismiss a theory on how the puzzle works, but usually if you’re bottlenecked it’s because you have no idea how the puzzle works.
All of this is to say that hint currency has a lot of the same risks as other choice elements in a puzzlehunt structure; teams are going to have to make a binding decision to apply their capital in one place rather than another, and they don’t know for sure what they’re going to get for their money. I think this is likely why modern hinters are willing to answer additional questions without additional costs; nobody wants a dissatisfied customer. But if a hint request is virtually guaranteed to eventually result in a solve, hint tokens become isomorphic to the free-answer chits that are sometimes handed out like candy in Hunts That Run Long(TM).
Regular readers of this blog (or as regular as you can be a reader of a blog that gets updated like three times a year) know that I think recent Mystery Hunts have been overstuffed with content to their own detriment. It’s hard to tell from the outside, but I sometimes wonder if teams think of hinting and/or free answers as a crutch; if the event is too long, we’ll hint people through it. In addition to not liking the feeling of being carried through a puzzlehunt, I think a higher volume of hinting introduces more variance in the fairness of competition. That might not matter much in a more casual event, but in Mystery Hunt where the future of the Hunt is shaped through who wins, I would like to see teams write Hunts that can be solved by the winners sans hints. This is easier said than done, but it’s still a goal that has been achieved many times. I don’t fault construction teams, especially first-timers, that fail to achieve that goal, but if teams are explicitly not trying to achieve it, I think that’s a mistake.
Is Lack of Choice So Bad? (contains BioShock spoilers)
I want to come back to the video game discussion that tipped me over the edge to finally write 4000 words on this subject. In the interview I mentioned earlier, Ken Levine said, “BioShock and BioShock Infinite, if you look at them from a development standpoint – and this may be a bit alienating to some readers – but they’re basically a corridor. A very, very long corridor with a bunch of trigger points that make story elements happen. Judas is made very, very differently and that makes it much more hopefully reflective of players’ agency, but also much, much harder to make.”
Levine’s implied argument is that the game has a series of levels placed in a fixed order, and within each level you have to complete tasks in a roughly forced order. Each level is somewhat free-roaming, so this isn’t a corridor in the same sense of, say, the original Super Mario Bros., but you still have to go through Points B through Y to get from A to Z, as opposed to modern open world games like Skyrim and Breath of the Wild, in which you can wander around and deviate from the main story (and in the latter game, even saunter directly to the final boss if you somehow manage to avoid being killed en route).
I became aware of this interview through a response article on Kotaku. The headline of that article points out that “Corridors Have Given Us Some Of The Best Games Ever,” and I have to agree. The best stories I’ve experienced in video games, BioShock included, weren’t great because I generated them with my own sequence of actions, but because talented writers created them and packaged them for me. Revealing that pre-written story didn’t make these games feel any less interactive, and just as I enjoy solving a puzzle and discovering the author’s solution, I have no problem following an interesting corridor and earning fixed story beats through gameplay.
The perplexing thing about this particular example (last spoiler warning) is that people who’ve played BioShock know the game’s big plot twist is that a supposed ally has been controlling your actions the entire time. (The Kotaku article makes this same point… it begs to be made.) Much like my recently-played escape room’s story broke down when we were told to choose between two sets of puzzles, this reveal would break down if I were able to deviate from the plot at will. Levine doesn’t explicitly say that corridors are bad, so the reactions from Kotaku and from me might be overly defensive. Still, it feels like he’s saying, “Choice is harder to design, but it’s worth it.” I’d argue that “Choice is harder to design, but it might be worth it if the story fits the structure and the negative consequences can be overcome.”
Conclusion
If nothing else, this post will give me something to cut and paste the next time someone makes the argument that a puzzle project we’re working on should have a blind choice mechanic. There are potentially significant pitfalls that might not be evident to someone who hasn’t written and run a lot of puzzle events. Does that mean these mechanics should never be implemented in puzzlehunts? I wouldn’t say that at all, since you shouldn’t avoid doing something just because it’s hard. But you also shouldn’t do something just because it’s different. Authors considering this kind of mechanism should at minimum ask themselves several questions… Is the mechanic supported by the story solvers are acting out (or could it be with some plot tweaks)? Are there consequences to “wrong” decisions, and how will solvers feel about them? And if the event is competitive, will the choices create an unfair competition (or one the participants will perceive as unfair)?
If these questions have satisfying answers for a particular puzzlehunt, introducing choice into that hunt might create something special and memorable. But jamming branch points into a structure without considering the risks might leave solvers feeling frustrated. I don’t want to be that solver, and I certainly don’t want to be the author who has to hear from them.
I still hope to write about this year’s Mystery Hunt after it happens, since I always have a lot to say about that event, but my semester starts the day after wrap-up, so my first reactions may be short or delayed. Between now and then, hope to see some of you at my alma mater in a couple of weeks!