Blaž Urban Gracar is a Slovenian artist. He is a musician (composing music for the theater, producing left-field electronica, playing keyboards in a rock band), writer (publishing poetry, prose and comic books), filmmaker (editing and animating short films), and game designer (mostly creating puzzly solo games). He lives by the sea with his partner, her daughter, two cats, a dog and a turtle.
Q. Hello, Blaž!
A. Hi, Puzzle Prime! Thanks for featuring me.
Q. I know you are quite a busy person, I’m glad to have you here.
A. Never too busy to talk with friends! But yes, my calendar has become quite crammed lately. I spend most of my days making music, which is basically my main source of income. I compose music for films and theater, but I also make strange electronic music and play keyboards in a rock band. Besides music and game-making, I also write – I have published a few books – and I make videos. Lately this means making animated shorts, but I graduated as a film editor, so I have made or collaborated on several films.
Q. Sounds great! I would first like to focus on your puzzles though, specifically your first published book, LOK. What was the inspiration behind it?
A. When I was making my previous puzzle book, Lineon, which is sadly still unfinished, I started corresponding with Stephen Lavelle, better known as Increpare, who made a bunch of great and acclaimed puzzle games, among them Stephen’s Sausage Roll, which is praised as one of the best puzzle games of all time. I sent him Lineon and he responded with a set of paper puzzles of his own, which were word-search puzzles using the Toki Pona language. Toki Pona is a constructed language that I don’t understand, so solving these puzzles felt very other-worldly. I started thinking how would such word-searches work if they used a completely made up set of words, which would have meaning only inside these puzzles. If we say “Apple” for example, we mean a red and round fruit. What if a word like “Lok” meant that you could erase a letter and that’s it? This idea felt very interesting to me and I quickly prototyped a puzzle which already used a lot of words that are present in the final book. It then took me about a year before I returned to this idea and saw potential for something greater.
Q. How long did it take you to finish LOK and what was the hardest part?
A. It took me a little more than 6 months to make LOK. I thought it would take me maybe 3 months, as I saw LOK as a smaller project at first, something to make in between bigger projects, so I pushed to finish it as soon as possible and made the first draft in about 2 months. I now see this as a smart approach – to rush the first draft – as it then took me 4 more months to perfect everything and make it really shine. I think it’s really important to have everything in place and see it for what it is, even if it’s not finely tuned yet. The last 10% were the hardest, but this was expected. It took me weeks to decide on some miniature details, like the correct font for titles, or the alignment of chapter artworks. Everything needed to match the vision, and it was hard to be certain what is correct in some aspects. But I’m very happy with how it all came together in the end.
Q. How do you approach making a puzzle?
A. Well, apart from some rare tributes and try-outs of some already established genres, I generally like to make up my own system of rules, within which I then create a bunch of puzzles. I rarely do one-offs. So, when I first start exploring a new system I made up, I just throw things at the wall and see what sticks. These puzzles are usually ugly, random and without any real a-ha moments, but with them, I kind of expose most of what the system is capable of. I then re-do the puzzles that have interesting interactions or ideas, try to make them more elegant, guided and beautiful, but I also retain some of these early puzzles as they were, because they already work quite fine. So, after I internalize all the ins and outs of a system and start working on proper puzzles, my process is usually thinking of an idea that I would like the solver to find out and then kind of build a pathway for them. I try to think like the solver and how they would react to certain insights and deductions. Basically, I want the solver to have fun and to blow his mind every few puzzles, haha.
Q. How does creating puzzles differ from creating in these other fields?
A. Music, films, prose, all of these art forms are kind of direct compared to puzzle-making. They communicate something in a direct way, even if they are metaphorical or dream-like. Puzzles, on the other hand, work on two levels. One is the first impression: how they look at first sight, if they are symmetrical, big or small, if they intimidate or seem easy. The second level is the hidden meaning of a puzzle, its solution and how you get to it. It feels like designing an onion, where you want to put as many surprises into different layers as possible. You also need to be a lot kinder to the consumer of your puzzles compared to other art forms. You have to respect their intelligence and patience, make the system and a puzzle as mechanically sturdy as possible, because ultimately they need to “get” your message. You certainly need to be a lot more pragmatic.
Q. You come from Slovenia. Is there an active puzzle scene in Slovenia and do you hang out with other puzzle designers?
A. There is no puzzle scene in Slovenia that I know of. It’s strange, because ever since I got serious about game design, I feel like I create in a bubble. When I make music, people around me respond to it, they come to concerts, they buy CDs. Even my books, which are a bit more niche, find some audience in Slovenia. But my games or puzzles don’t really connect with anyone around me. It’s like I live a double life, one with friends and family, and the other just on the computer, which I use to communicate with puzzle lovers from around the world. This is how I got in touch with you as well. When I published LOK, I sold 95% of books to people outside of Slovenia, people I don’t know, people from Europe, America, Asia. It’s strange, but it also feels nice to at least have an audience somewhere, even for my small and weird little games.
Q. What are your next puzzle projects?
A. Based on the response for LOK, I already have many ideas for the continuation of the LOK story. The main one is the digital adaptation of LOK which I’m already working on with Raindrinker, a talented creator from Spain I met online. We hope to publish the game in 2023. Besides LOK, I might return to Lineon and start working on it again from the ground up, with the experience I gained in the meantime. There are some other ideas that I’m bouncing around in my head, maybe also a continuation of my solo card game “All Is Bomb” in some form. Let’s see what happens – I love designing games, so something will probably appear in a short while.
LOK is a new original puzzle book, created by the musical and visual artist Blaž Gracar. It is his first published work in this domain and considering the attention to detail put into puzzle design, solutions system, and illustrations, I would say that’s an impressive start, and I am looking forward to his future endeavors.
The puzzle mechanics of LOK are quite innovative, and despite my long-time puzzle history, I cannot relate them to anything I have seen before. Each puzzle consists of a grid partially filled with letters and the goal is to black out all cells by marking certain words and then triggering their effects. For example, if one has the letters L, O, K in consecutive cells and marks the resulting word LOK, then they must black out the cells of all three letters plus an additional cell by choice.
There are 5 more trigger words that appear in the book, but since it is the solver’s challenge to figure out what their effects are, I will not spoil them for you. All I can say is that each of them works uniquely and sometimes solving the puzzles gives the feeling of planning ahead the moves of a chess game.
In addition to the funny-sounding trigger words, new chapters introduce various other mechanics, building upon the previous ones and making the puzzles progressively more complex. You will encounter ”conductors“ that let you connect separated letters, “clouds” that let you black out a given configuration of cells, and other interesting concepts.
The book is split into 12 parts: 8 chapters with a total of 80 puzzles, 2 expansions with 10 extra puzzles, Rules that explain all the concepts in the book that have been left to the solver to discover, and Solutions that provide the answers to all puzzles. The parts are separated by beautifully illustrated pages of cute worm-like creatures, called ”Loks”, performing various activities, such as flying in space or working in a factory, on 10 additional solvable grids. Of course, the author could assemble the book just with all the 100 puzzles inside, and it still would have been great, but that extra touch of art is what makes LOK even more special for me.
While the market is currently flooded with all kinds of derivative logic books filled with computer generated Sudokus and Kakuros, LOK differentiates itself as an ingenious passion project of someone who simply wants to contribute to the world of puzzling. You can get the digital version of LOK for free from the author’s website by clicking the button below. If you like, there you can also purchase the physical edition and solve the puzzles the way they are intended to be solved, with pencil and eraser on paper. For those who prefer to keep their puzzle books in immaculate condition, a transparent draw board is included in the package. Thanks!
appropriate for all ages
more than 90 carefully hand-crafted puzzles
surprising mechanics taught through practical solving