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Every December, I use my last video of the
year to celebrate the most innovative and

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inventive game I played in the last 12 months.

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In previous years I’ve looked at the YouTube
detective drama Her Story, the uncanny chatbot

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game Event[0], the serpent simulator Snake
Pass, and the time-travelling murder mystery,

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Return of the Obra Dinn.

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These games have done things I’ve never
seen before, and are impressive in both their

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idea and their execution.

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They might not be the very best games of their
respective years, but when it comes to fresh

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concepts done well, these are the games I
would recommend.

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I certainly had lots of choices to pick from
for 2019, like the combat-free role playing

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game Disco Elysium, the hilarious honk ‘em
up Untitled Goose Game, the sci-fi archeology

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game Outer Wilds, and the other sci-fi archeology
game, Heaven’s Vault.

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But this year, nothing quite beat the mind-melting
puzzle game, Baba Is You.

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Now, from first glance, this game looks pretty
simple.

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You hop around a grid and push blocks - making
it part of a sub genre of block-shoving puzzlers,

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all inspired by the Japanese game Sokoban.

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Here’s where things start getting strange,
though: in each level, the rules of the game

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are written on screen as simple sentences.

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Like, “Baba Is You”, which means you control
this funny white critter called Baba.

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Or “Wall Is Stop”, which means you can’t
walk through walls.

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“Rock Is Push” means you can shove rocks
around, and “Flag Is Win” means touching

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the flag will finish the level.

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And then here’s the kicker: those rules
are, themselves, blocks that can be pushed

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around - allowing you to break the logic that
dictates the level at hand, and create entirely

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new gameplay by rewriting the rules.

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Remove the word “Stop” from “Wall Is
Stop”, for example, and now you can waltz

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straight past walls.

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Change “Flag Is Win” to “Rock Is Win”,
and now the rock becomes your goal.

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Or push "Rock: into this sentence, and you switch
the main character of the game into a tiny

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brown boulder.

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Cheeky.

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And thus begins a few hundred levels where
the solution is never to simply reach the

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goal - but to rewrite the rules of the universe
until you’re in a world where the goal is

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now reachable.

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It is infinitely intelligent and endlessly
surprising.

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It’s tough, but far from impossible, and
practically every level is a revalatory experience

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with a satisfying aha! moment.

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And if you haven’t played it yet, now’s
your time to pause the video, head to Steam

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or the Switch eShop, and get the game.

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I hope that you love it.

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When you’re done, remember to come back,
and we’ll chat more about how the game builds

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its brain-busting puzzles

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Baba Is You is the brain-child of Finnish
indie developer Arvi Teikari.

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He told me over email back in April that he
was inspired to make the game as part of the

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2017 Nordic Game Jam.

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The jam’s theme was “Not There”, and
the word “Not” made him think of logic

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operators in programming languages.

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Combine that with a block-pushing puzzle game
like Snakebird or Stephen’s Sausage Roll,

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and this “resulted in a mental image of
a block of ice not melting in hot lava due

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to the statement "Ice Is Not Melt”.

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The scrappy, prototypical Baba Is You ended
up winning that Game Jam, and the reaction

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was so positive that Teikari decided to take
his underbaked jam game and turn it into a

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full fat release.

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Two years later, and the designer had about
219 ultra clever levels for players to work through.

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So how, exactly, is one of these Baba Is You
levels made?

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To start, Teikari tries to think of an interesting
interaction, or set-up that could come out

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of the game’s encyclopaedia of words and
rules.

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“Pull”, for example, could lead to a level
where Keke needs to drag a key across a lake.

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A teleporter doesn’t have to just move objects,
but could also be used to move around the

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rules themselves.

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And the word “Has”, could lend itself
to a level where you drop a box every-time

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Keke dies, but that box immediately turns
back into Keke.

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Bonkers.

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Speaking at the Gamelab conference in Barcelona
this summer, Teikari said, “when I’ve

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got this idea of ‘hey, that would be cool
to see in a level’, I try to figure out

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what kind of level do I have to build so that
when the player is playing the level they

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have to use that interaction”.

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And that’s where we get to the fascinating
contradiction at the heart of Baba Is You.

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Because while this is a game that offers a
seemingly infinite world of possibilities

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- its puzzles are largely defined by what
you can’t do.

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Because while making an open ended puzzle
game sounds great, it’s open to easy answers

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- like Scribblenauts, where half of the levels
can be finished by writing in the word jetpack.

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So the designer’s job is actually to lock
you in and force restrictions on you.

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And in Baba Is You that’s achieved by the
words that are and aren’t on screen, the

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way some sentences are pushed against walls
or locked behind fences, and the claustrophobic

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grid that constricts your movements.

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With these restrictions in place, the designer
can lock off easy answers - and force you

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to find the clever trick at the heart of the
puzzle.

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Teikari calls this process reverse engineering
- of essentially starting with the solution

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and then working backwards to throw up restrictions
and make a puzzle that supports it.

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As an example, take the level Baba Doesn’t
Respond.

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In this level we play as Keke, and the solution
is to use two belts to redirect a moving Baba.

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So how does the designer force this interaction?

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Let’s start by putting a wall and a locked
door between Keke and the Flag.

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If we put a rule here like “Door Is Shut
And Open”, we can just push the word “Shut”

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over and then go to the flag.

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But if we put a reed here, and make it so
creating that first sentence simultaneously

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makes the rule “Reed Is Defeat”, we suddenly
put Keke in a pickle - opening the door also

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denies access to that door.

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Hm! Quite the catch!

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So, the player will hopefully realise that
they need to have Keke be stood in this exact

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spot when the rule is triggered - and they just
need to figure out how to move the sentence

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from afar.

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Answer: “Baba Is Move”.

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Now the level would be way too easy if we
could just put Baba here, make “Baba Is

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Move”, and then walk to the right spot and
wait for Baba to walk into the words.

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So, some restrictions are added.

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This single hedge block means Baba only has
a tiny run-up.

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And having “Move” be in the corner makes
it impossible to, well, move, so the sentence

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“Baba Is Move” has to be made on the furthest
left edge of the screen.

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These two things combine to make it impossible
to make “Baba Is Move” and then walk to

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that all-important spot, because Baba will
have already made the reed deadly by the time

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you get there.

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And thus, you must use these belts to create
a much longer path for Baba to take, Chu Chu

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Rocket style, which will give you enough time
to walk across the level before he triggers

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the sentence change.

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Then it’s just a case of sprinkling on some
pretty decoration, and putting in some other

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bits to restrict your movement or stop unintended
solutions.

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Though, many of those are left in by the designer

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- provided they don’t make the real solution trivial.

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So as you can see, the solution to the puzzle
is actually pretty simple.

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But by obfuscating the answer behind a sequence
of problems, it creates this interesting phenomenon

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where Teikari is working backwards from the
solution, locking up doors behind him as he

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gets to the starting conditions for the puzzle.

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And then the player then moves in the opposite
direction, opening each door in turn until

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they get to the solution.

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And by setting the stage up in this way, the
player is actually somewhat lured towards

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the solution.

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Each level contains a number of tiny problems
that render something impossible - forcing

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the player to find a different, more creative
way to overcome the problem.

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These stumbling blocks then stack together,
creating a pathway to the level’s solution.

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Here’s how that looks in a favourite stage
of mine: Tiny Pond.

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In this level, the word “Win” needs to
be released from a pond.

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The water is tagged as “Shut”, and Baba
is tagged as “Open”, which means you can walk

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into the water to unlock it and gain access
- but this also destroys Baba.

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So, we’re going to need to try something
else.

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We’ve got two other words: “Key” and
“Flag”, and so we could make “Key Is

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Open”, but there’s no “Push” verb,
meaning the key just sits there.

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The only way to make it move is to write “Key
Is You”, but we run into the same problem:

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you’re destroyed as soon as you touch the
water.

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By now you should hopefully be thinking, “okay,
maybe I can be both key and Baba at the same

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time, because when one dies, I can still control
the other one”.

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But, sadly, there aren’t enough words to
make that sentence work.

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However, the sequence of logical leaps have
got you this far and there’s only one possible

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way forward now: if you make flag is key,
you’ve got two keys.

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And now if you have “Key Is You”, you
can control both, sacrifice one to open a

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hole in the water, and use the remaining key
to finish the stage.

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It’s really clever.

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The set-up for the stage walked us right into
the central problem of the level: we need

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to be “Open”, but we also don’t want
to disappear when we use ourselves.

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And so we’re in the perfect spot to try
and figure out the actual solution - and go

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“aha!” when we get there.

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If this was the first level that you played
in this game, you would be - I think -

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completely stumped.

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But luckily, playing Baba Is You means constantly
adding to an ever expanding knowledge base

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that grows with every stage you play.

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So Tiny Pond builds on the level Jelly Throne,
where you control two characters at once.

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And Tiny Pond’s solution reappears in the
stage Unreachable Shores, where you sacrifice

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one Keke, so the survivor can move forward.

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But this sort of learning starts from the
very beginning of the game.

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Baba Is You is a pretty complicated puzzler,
after all, and there’s not a single tutorial

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in sight.

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Instead, the game’s first crop of puzzles
all subtly and silently tell you how the game

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works through their solutions.

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So in Level 1, we’re stuck inside a tiny
box.

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There’s only one way to get out and that’s
to break the sentence “Wall Is Stop”,

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and make the wall no longer a solid object.

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Then, we can make a sentence - “Flag Is
Win” - to finish the level.

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That’s breaking and making sentences: the
two most fundamental concepts of the game.

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Level 2 is the exact same stage as before
but now everything is wrong.

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You play as a wall, the walls are made of
flags, and Baba is nowhere to be found.

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This teaches players that nothing in the game
has an intrinsic value: it’s only given

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purpose when part of a rule.

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The game keeps this up throughout its first
few stages, with solutions that clue us in

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to some fundamental concept we’ll definitely
need to know later.

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Here, “Lava Is Push overrides” the rule
“Lava Is Hot”.

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In this puzzle, we learn that we can create
two sentences from the same “Is” block,

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by creating them in a cross.

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And the game will continue to teach new concepts
and ideas throughout the adventure.

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Every time a new concept is introduced - like
the operator “And” or the words “Open”

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and “Shut”, we’re treated to introductory
puzzles that make these new mechanics crystal clear.

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I asked Teikari how he went about making these
introductory stages, and he said “If I exhaustively

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go through all the meaningful interactions
between elements, eventually I get levels

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where the ‘trick’ is mostly just the basic
functionality of a specific element in itself”.

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that can then be put at the beginning of the
world, to act as a tutorial for the stages

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to come.

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While Baba Is You is full of puzzles that
will make you feel stumped when you first

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play them, and make you feel smart when you
solve them, Teikari’s real goal is to create

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moments of surprise and laughter.

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YOUTUBER: [Laughter].

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YOUTUBER: “There’s no rule saying ‘Wall
Is Stop’. [Laughter]

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I was confining myself to this stupid little
area and I didn’t need to.”

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That’s certainly one way it’s done - by playing
with your expectations for how things work.

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In this level, for example, most players will
assume they need to unlock the door.

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But actually they need to unlock the wall.

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There are also just bonkers rules that go
way beyond the basic set-up.

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“Empty” allows you to control or fill
the empty space in each stage.

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“Make” lets you create a trail of objects
when you move.

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“More” lets you duplicate keys until they
fill every spot in the space.

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And just like the original idea for the game,
“Not” allows you to flip rules on their head.

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Plus, in an attempt to make sure every single
interaction is explored - a similar design

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philosophy as one used by Braid developer
Jonathan Blow - Teikari has “Text” be

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a word, allowing you to manipulate the rules
with other rules.

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And by the time “Level” is introduced,
you’re not only moving the entire screen

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around - but breaking out the stage and bouncing
around the map screen in a mind-melting meta

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exploration of the game’s fundamental logic.

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There were more ideas that didn’t make the
cut, of course.

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Teikari told me that “Stick”, which would
make objects clump together, was removed because

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it created nightmare programming problems.

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And “Safe”, which would render an object
invulnerable, was left on the cutting room

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floor because it was hazy, and uninteresting.

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Not everything that made it into the game is a 
complete winner, if you ask me:

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a stage where you trap Keke

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under words and then push them away from the
corner is awkward and confusing, and the word

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“Swap” is like “Tele” but not as cool.

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With 200-odd stages, though, there’s always
going to be a few that don’t click for everyone.

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But Teikari points to an army of playtesters
who gave feedback on stages, and discovered

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alternative solutions..

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“I’m extremely thankful for how much testers
have done for the game”, he says.

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That group of testers, it turns out, is a
who’s-who of puzzle game wizards, and includes

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the designers behind Ending, A Good Snowman
is Hard to Build, Pipe Push Paradise, Starseed

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Pilgrim, Minit, and The Witness.

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Baba Is You is a surprising, silly, and mind-bogglingly
complex game.

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And it had every chance of becoming too difficult
to grasp, too esoteric to understand, or too

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freeform to actually produce good puzzles.

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But Arvi Teikari has proven himself as a master
of puzzle design.

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He introduces the loopy logic of Baba Is You
slowly and subtly, so everyone can understand it.

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With his reverse-engineering process, he buries
a clever trick under layers of problems.

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But they’re never red herrings or pointless
busy work - they’re about leading the player

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to the catch at the centre of the puzzle.

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And he’s more interested in surprises and
silliness than rock-hard challenge, making

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for a game that will make you laugh more than
it will make you frustrated.

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It’s simply a really great puzzle game,
built on a fresh concept that was executed

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perfectly.

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A no-brainer for this year’s final video.

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Hey, thank you so much for watching!

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I just wanted to take a moment to say thanks for
all of your support in 2019.

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I’m really proud of the stuff I made and 
your support has meant the world.

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I’ve already got so many video ideas lined
up for 2020 but it's time for a quick break.

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So I hope you'll have an amazing Christmas, and
I’ll see you in the new year.