Wagner James Au / New World Notes

Journey, the acclaimed game that began its life as a Playstation title in 2012, is now (finally!) available to play on the PC via Steam. An enthralling, emotionally poignant trek toward a high mountain, the player must guide a robed figure across wastelands and civilization's remains, sometimes assisted by another robed figure who may be another player. As it happens, producer Robin Hunicke tells me, Journey was originally conceived as a kind of massively multi-user virtual world.

"When [director Jenova Chen] originally came to show me the pitch for Journey," as she remembers now, "it had an MMO vibe. Several of his concept art pieces featured long lines of people in dark robes following a path — almost like a pilgrimage to a holy site or an exodus from a war-torn land."

A multi-user version was prototyped, but the designers found that cooperative gameplay between several players could ironically become less social or cooperative: 

"In development, the idea morphed to a 4-player game for the top-down, 2D 'Dragon' prototype. In testing that prototype, we found that requiring 4 players to cooperate could lead to fairly exclusionary dynamics (like 2 on 2, or 3 on 1).

"Over time, we focused down to supporting just 2 players at once based on playtesting and design exploration. We found that the process of making a game where one person could play alone or choose to play alongside others was a very juicy design space, with lots of interesting texture around ideas about trust, commitment and following through."

The possibility of creating a tight emotional bond with another, anonymous player in Journey was groundbreaking in games — as was Journey's minimalist design and aesthetic. It's not a surprise that its impact is still seen in countless games that have been developed since.

"When developers come up to me to explain how Journey has influenced them," Robin tells me, "it's a wide range of comments — everything from showing that a simple, elegant design can evoke very strong emotions to the idea that games don't have to be about mastery and challenge to become engaging. I often hear that the game gave young people with experimental design or art direction ideas the confidence to try making their own work and putting it out there. Most of all, I hear that Journey inspired people to make personal games about nuanced, and sometimes difficult stories. 

"I like that the impact of our game was broad and deep at the same time. That it gave creators the freedom to think differently about themselves, their work, and the genres that we have been raised with. From walking simulators and narrative games like Kentucky Route Zero and Firewatch, or more puzzly experiences like Monument Valley and Gris — I think you find elements of the vast landscapes, artistic visuals and design that push beyond the thrill of action to a more considered, introspective place. Even Death Stranding has a Journey-esque aspect to it, if you look for it."