My game is about Kaira making friends in a swampy wasteland while on her quest to regain her memories and find out why she lost them in the first place. The game is right now basically a walking simulator. It will eventually be a choice based RPG with follower characters and branching dialogue and story options. In her quest to regain her memories she will eventually also realize she has a sister that she needs to rescue. The McGuffin is exploration as the only way Kaira can regain her memories is by exploring and solving the challenges she and her companions face along the way. For example Kaira is trying to regain her memories and some of the things she needs to regain those memories are in parts of the swamp she cannot breathe in, so she needs to gain the trust of a companion who can breathe in those areas so he can explore them for her. While this character has yet to be introduced in this game build he will likely appear very soon as he is pivotal to the story. I used abstraction in that the game is less detailed than I originally was going to have because the scope of the project would’ve been so much. I used aesthetic in my game to try and give it a dark and mysterious vibe. I use the purples and black colors to show that even though this is a swamp it’s not a swamp that one would find today. The environment is natural in form but unnatural in color scheme and inhabitants. The darker color scheme also gives a somber mood to the game which I am also going to toy with in later maps that will have warmer and more welcoming color schemes. One of the characters who will appear in this more warm place is Nadia. Even though her dress is cool colors I want her to still give off a warm and inviting vibe. I mostly have her in the dark blue dress to show that even though the home she’s crafted for herself is very different from the environment around her she is still very much one of the people who lives in the swamp. Another character who has a warmer color scheme is Shari, the talking serval. He is a swamp cat that if Kaira befriends, will be able to get things from the parts of the swamp that would be toxic for Kaira to enter. Almost all of the possible companion characters have an aspect of their design influenced by another companion to show that they are possible companions. Such as how both Shari and Zhis have orange, or how Shari and Nadia both have scarves like Kaira does. I want to use the warm and cool color schemes to make the player feel different things about the different environments. For example, Nadia runs a tavern that I want the player to find warm and inviting in comparison to the hostile and dark swamp outside. My story is nonlinear because it starts in the middle, the events that led to Kaira and Zhis being where they are happened before the game began and there was a whole mini adventure that the two went on before the game began but the game starts in the cage, after Kaira has forgotten all these things. The level that I’m working on now in the final game would probably be a flashback that happens partway through the beginning of the game. I used abstraction in the fact that a lot of major characters that Kaira can befriend or interact with aren’t human. For the majority of the beginning of the game Kaira is the only human the player sees. This shows that the environment is not one the player is familiar with, but Kaira’s casual interactions with these non human characters shows that it is an environment she is comfortable in. My plan for moving forward with this game is to flesh out the animations as well as the dialogue that Kaira has with the characters already in the game as well as the future characters. I also want to work on the next few maps as well as adding more sprites for future characters. (Kaira will have A Lot of friends) As far as feedback loops go the more the character explores and talks to people the more she will be able to remember which will make her want to explore more as she gets closer to her goal of confronting the force that made her loose her memories in the first place. How Kaira goes about accomplishing this will also effect how other characters see her. For example there are some choices she can make that will cause her companion’s deaths or cause them to abandon her because of her actions. A player who say doesn’t care for Zhis for example much might find this mechanic helpful while others may be distressed that their favorite companion could leave them depending on their actions, causing the player to have to weigh the pros and cons of the actions they take in the story. Another feedback loop will be an approval system where the different companions of Kaira’s will approve or disapprove of the actions Kaira takes and this will influence how they feel about and speak to her.
My game is about a pair of ghost hunting twins named Becca and Casper Radley. Their producer has informed them that they must raise the funds for their next season on their own. Becca hatches a plot to convince rich couple Nigel and Mira Blackwood that their house is haunted so that they will sell it for an affordable price. Once Becca has purchased the house, she intends to “debunk” the haunting and resell it for the full cost. For unknown reasons, the Blackwoods must move out in exactly one week, and so the twins have seven days to scare them into belief. This game plays in two different sections. At night, Casper places scary traps and triggers them at the correct intervals to scare the Blackwoods before he is discovered by them. During the day, Becca talks to the residents of the town, performing tasks (mini-games and puzzles) to convince them to tell her more about the history of the Blackwood Mansion. In the portion of the game which I programmed this term, Becca speaks with the residents of the mansion in order to establish her cover as a ghost hunter. In order to investigate the house fully she must gain access to the basement, and to do so she distracts the maid Emily with a leaking pipe. She can also gain Emily’s assistance by admitting that she is running a con scheme. These actions introduce the player to the fact that they will need to solve puzzles in order to convince people to work with them, as well as the fact that the tone of their interaction will have consequences. At the beginning of night sections, the player (as Becca) will be able to tell Casper what facts about the “ghost” she has learned during the day, and he can use these bits of information to craft a more believable haunting. Ideally, the dialogue in the game would have basic choices and question trees, so that the player can pursue the lines of inquiry that are relevant to the approach they are taking to the haunting. In this build of the game that is not developed, so I’ve tried to distill the dialogue down to what is important for completing the level. The McGuffin in the game is probably the house. The house has a worth to it for the Radleys – in that it will allow them to achieve their end goal of continuing their show. Additionally, it is uncovered over the course of the game that the house is a centerpiece for several occult happenings in the town – a demon summoning, a murder, and a bank robber being killed to name a few. Not only is the mansion the pursued item, it is also in the end the cause of all the weirdness which Becca is channeling as she creates her ghost. Primarily, the abstraction was on the artistic front. The characters have simplified design so that they can be drawn easily. Most of the expressiveness is seen in the dialogue sprites, which also have a few poses and rely primarily on facial expression to convey opinion. I also abstracted the backgrounds, and the relationship between characters and backgrounds. The scenery has a smudged look, all of the colors blending in to each other. All of the characters who are a part of the town also have this appearance to them to a certain degree, aside from the Radleys. This – along with the fact that the Radleys use different sections of the color palette I composed for the scene than the other characters do – showcases that they are intruding onto the small town space. The blending also created a sense of otherworldliness. This mansion is supposed to be “haunted”, and by blurring the lines it becomes more difficult to distinguish reality in the house. By creating this atmosphere, and throwing in some strange happenings, the player begins to wonder if they are the only ghost in the mansion. Truthfully, a lot of the design choices I made were due to the limitations of my own artistic ability. In a way, though, not being able to do detailed lineart helped me: because I am unable to The positive feedback loop is in the “belief” system of the game. Unlocking levels of belief unlocks dialogue options which can add effects to Casper’s hauntings. These would make it easier to win the game. The negative feedback loop is also based around the belief system of the game. As the player builds up belief with The Blackwoods, they also build up belief with the priest Father Jacobson. While The Blackwoods are more talkative the more they become convinced of the haunting, Jacobson becomes more wary. As being caught results in a game over, this means that though successes become more rewarding as the game goes on mistakes are more costly as well. Because of the loops of belief, a player can unlock different facets of the haunting at different points in the main storyline. If they focus on making Father Jacobson believe (which is required to get the most positive ending, in addition to being something which increases the difficulty of the game), but not on The Blackwoods then the game becomes more difficult but also reveals things about his story earlier on. This gives that player, who knows about his story on say day 4, a different perspective on the things he does than someone who focuses on The Blackwoods and never learns his motives. Through these mechanics a player defines their own experiences. They can make the story more of a challenge for themselves by picking less beneficial dialogue options and creating a more hostile haunting environment, which will teach them different and perhaps enlightening things. Or, they can make the story easier, which also unlocks facets of the story. I drew a bit from Garden of the Forking Paths with my ideas for the order of events things could occur in. In Garden, the protagonist muses on multiple realities where the characters had developed different relationships. Because of this, I wanted to experiment with how Becca’s relationships with characters interacted her relationships with other characters. In real life, a person’s current relationships affect their development of new relationships, and so I want to play with the idea that developing her interactions with for example The Blackwoods would also affect her relationship with the other townspeople.
When I worked on the initial map where I was hoping to use music that I had created over a period of time to create a landscape where life events could be read in terms of topographic data. In a way this was a response to a lecture given here as part of the science lectures series a year ago given by Dr. Patrick Muchmore where he called the composer “an explorer of abstract landscapes.” In thinking about this concept I wanted to combine a way of presenting non-musical meanings visually that could be used as interpretations both for non abstract events and abstract musical events. Not reaching a satisfactory exploration of this concept I scraped my work and instead put together a less personal piece focusing on genealogy. Not doing the initial project made me think a lot about what kind of symbols exit in music, if any at all, and if there is a difference between “real” performed music and “virtual” – or “actualized” music that exists in a realized form of notation or thought but not in sound. The concept of whether the beauty or meaning of music exists only in a syntactical form of mathematical relationships that produce certain tones, or if it is contained in a system of semiotics either made clear to a listener through titles and program notes or even biographical information about the creator. In my map I presented a land mass that is covered mostly by musical staves, often distorted to run the island, the southmost tip contained musical quotations. The four corners contain all the non-quotation elements in the map – described in not musical or ambiguous terms. The mark for silence is given “This is the task”. The fermata for holding a note is listed as “Until”. The dominant symbols combine to form, in terms of musical instruction, the meaning of “Hold this Silence indefinitely very loudly”. To me this motif serves as a biographic text – as for most of my life I was forbidden to practice a musically informed life. Shadows of bombers are placed across the islands – once printed I applied torn out strips of my own composition over these shadows – making them hostile elements against the message of the landmass. I was inspired by the Icelandic invasion map that was show by our visiting cartographer. As I sought to find a meaningful connection from the history of cartography. Using the layers of printed I wanted convey the different levels that a work can exist at – both at the silent and conveyed and the expressed and internalized by listeners – and perhaps also viewers.