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Why are we Obsessed with Secrets in Games?

IbizaPocholo

NeoGAFs Kent Brockman


Secrets have been a part of Games since the very Beginning. This Video Examines how secrets are incorporated into games, their design function, but also how they intertwine with the culture of secrets outside of games to create meaning and depth.

0:00 Secrets, Easter Eggs and Cheats
2:26 Designing for Secrets
4:03 How Secrets are Used by Culture
5:33 Void Stranger and the Riddle of Labyrinths
10:16 Genre Transcending Secrets
12:09 Inscryption and the Divinity of Randomness
14:46 Inscryption Spoilers
15:32 The "Real" Meaning of a game
16:25 Tunic and the Legacy of Secrets
19:14 Tunic Spoilers
21:16 The Secret of Secrets
This video explores the profound role of secrets in video games, tracing their origins, significance, and cultural impact. It begins with the first recognized Easter egg in gaming history—Warren Robinett's hidden message in Adventure (Atari 2600)—an act both rebellious and emblematic of games as a medium built on discovery and hidden layers. However, earlier instances, such as the Moonlander (1973) McDonald's secret and cryptic features in Colossal Cave Adventure, show the longstanding tradition of embedding secrets in games. The line between secrets, Easter eggs, unlocks, and cheats is blurred, all contributing to an evolving culture of player discovery.

The video frames games as an art form of secrets, where the core aesthetic is exploration and revelation, likening gameplay to a ritualistic initiation. Academic perspectives, particularly Maryanne Buckles' work on Colossal Cave Adventure as interactive fiction, link games to literary traditions like Jules Verne and Tolkien, emphasizing their narrative and exploratory depth. Secrets are not only gameplay mechanics but also aesthetic and cultural phenomena that create meaning through player participation.

Howard's laws of occult game design are introduced, highlighting the triad of Mystery, Secret, and Initiation (MSI): mysteries form the hidden world, secrets are the concealed elements, and initiation is the player's gradual unveiling of these. This dynamic is central to many games, including Near Automata and Castlevania, where secrets subvert surface appearances and deepen engagement. The significance of secrets depends on their surprising nature and the illusion of completeness on the surface.

The discussion extends beyond games to humans' intrinsic attraction to puzzles and mysteries, supported by Marcel Deni's arguments in The Puzzle Instinct. Puzzles have historically intersected with myth, magic, divination, and science, fulfilling an existential need to confront life's big questions through small-scale intellectual challenges. Two puzzle archetypes—the Riddle and the Labyrinth—are especially relevant for understanding secret design in games.

The video uses several games to illustrate these concepts:

  • Void Stranger: A minimalist puzzle game layered with secrets that require interpreting not just gameplay mechanics but also semantic clues like murals, room layouts, and interface elements. It exemplifies the riddle as a dialogue between designer and player, emphasizing meaning and intentionality beyond rules.
  • Inscription: A roguelike deck-builder blending card game mechanics with meta-narrative secrets. It explores the interplay of luck, skill, and divinity, with layers of secrets inside and outside the card game itself, including breaking game rules and meta-commentary on game design and player agency. Its complexity demonstrates the relationship between game designer (Riddler) and player (Ridley).
  • Tunic: A game inspired by Zelda and Souls that uses secrets as a core mechanic and narrative device. It features an in-game manual with a cipher-like language players must decode to access hidden content and a true ending. The game plays with interface, knowledge, and ritual, framing the controller (the "Holy Cross") as a symbolic tool for communion between player and game. Tunic reflects on the legacy of secretive game design and the tension between discovery and external information sources in the digital age.
  • The Witness and Rainworld are also mentioned as examples of games where secrets facilitate thematic explorations—from existential fragility to intellectual revelation—demonstrating how secrets integrate with gameplay and narrative.
The video concludes by emphasizing that secrets in games are not merely about hidden content but about the communicative and ritualistic nature of play itself. This communion between designer and player echoes ancient practices of divination, puzzle-solving, and storytelling, positioning games as a unique medium where art, science, religion, and play converge. The act of uncovering secrets is a metaphor for the deeper meaning and experience of gameplay, transcending genres and mechanics.

Key Insights

  • Warren Robinett's Easter egg in Adventure was a foundational moment linking human authorship to gaming culture.
  • The MSI framework (Mystery, Secret, Initiation) is essential for understanding secret design.
  • Games are a form of interactive fiction and riddles, combining narrative, puzzles, and exploration.
  • Secrets function as rituals of revelation, fostering player engagement and meaning-making.
  • Human affinity for puzzles ties games to broader cultural, philosophical, and scientific traditions.
  • Secrets often require players to move beyond game syntax to interpret semantics and designer intent.
  • Games like Inscription and Tunic explore layered meta-narratives and the relationship between free will, determinism, luck, and skill.
  • The controller as a symbolic artifact (e.g., the Holy Cross in Tunic) highlights the ritualistic aspect of gaming.
  • The culture of secrets coexists paradoxically with the information age's ease of access to answers.
  • Ultimately, secrets deepen the understanding of play as a communicative, ritualistic, and reflective activity.
 
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I'm not. It's hidden content, as far as I'm concerned, and wasted effort if there's something you put in the game that most won't ever see.
 
and wasted effort if there's something you put in the game that most won't ever see
Nah don't say that man. I think it's very cool when devs put cool content behind a secret that not everybody will see. Elden Ring for example was full of optional areas, and finding those felt real nice because you had to do that on your own instead of being handholded all the way. Makes it feel special in some way.
 
I for one love to search every trash bin for secret shit in video games. For some reason I still miss lots of things.

Due to the internet games became boring instead of searching for things yourself you just google it. That way playing video games lots its wonder and excitement.
 
Due to the internet games became boring instead of searching for things yourself you just google it. That way playing video games lots its wonder and excitement.
Can't you just don't do that? Back then we still had game guides on magazines and I would just not look at them.
 
Because men are hardwired to want to explore and discover the secrets of everything in the real world, games are an extension of that
And also, secrets are usually things you weren't supposed to find and were meant for someone else, which makes it more exciting when you do find them. Just like you do in real life.
 
Because men are hardwired to want to explore and discover the secrets of everything in the real world, games are an extension of that
Duke Nukem 3D was great for this. You're rewarded for exploration -- not just through in-game material gain, but also with Easter eggs and pop culture references, which add another layer of secrecy. But these are an open secret: a 'hidden in plain sight' in-group language. At this point, it's practically a time capsule -- but as a language spoken only by old farts. It's like knowing the password is 'New England Clam Chowder' and the follow-up answer is 'White.'

I thought it was really cool back then, and I still do.
 
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Can't you just don't do that? Back then we still had game guides on magazines and I would just not look at them.
Of course we had guides and magazines but there were no guides for every game released. Today we have guides and youtube videos for nearly every game ever released.

I can just ignore them but it is still not the same thing as in the past. It's not as exciting if you find something hidden in a game and you realize millions of other people found it before you using a guide. Being an adult mean I don't have as much time as I had when I was a kid. My backlog of games is still big it does not feel like I can afford to search for thing for countless of hours. To not waste time I feel pressured to look up the solution if get stuck in a game.
 
I'm not. It's hidden content, as far as I'm concerned, and wasted effort if there's something you put in the game that most won't ever see.
Most won't ever see the end of the game so should we leave that off too?

For many games exploration is a key part of the game design and it can be fun.

To you the golden chocobo quest in FFVII was wasted effort.

I think it was the best part of the game.
 
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Of course we had guides and magazines but there were no guides for every game released. Today we have guides and youtube videos for nearly every game ever released.

I can just ignore them but it is still not the same thing as in the past. It's not as exciting if you find something hidden in a game and you realize millions of other people found it before you using a guide.
Damn man, you should try getting rid of that thought. Why do you care about what other people do? When I'm playing the game, it's me and the game and that's all.

Being an adult mean
I don't think you are mean at all dude.

I don't have as much time as I had when I was a kid. My backlog of games is still big it does not feel like I can afford to search for thing for countless of hours. To not waste time I feel pressured to look up the solution if get stuck in a game.
Same as before, this is your problem. Do you feel pressured by the size of your backlog? I have a lot of games I want to play but that doesn't put pressure on me and I'm still able to take my time with them. On the contrary, I see having a big backlog as a blessing. So many cool games to play!
 
Its amazing feeling to find/get/see something most ppl wont be able to, all secret areas/items/quests/bosses got that sweet taste nothing else can compare to :messenger_smiling_hearts:
 
Do you feel pressured by the size of your backlog?
Every time I close my eyes I dream about my backlog. Not really I don't care how many games are in my backlog. It's just not smart buying new games, playing them for two hours and then putting them in my backlog once a new game I want to play is released. I try to only buy new games when I finish something from my backlog.
 
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