Master Cube is about a young man named Davis. Davis is a store greeter sick of his work and the people in town. He envies the heroes he sees pass through the store, taking what they please for their quest. Davis has very little for him in town, and tries to venture outside but the guards won’t let him, they say it’s too dangerous. He can leave if he can pay off the guards by working tirelessly as a greeter for hours and hours, the thought of which makes Davis want to blow his brains out. A robed figure calls out to Davis and promises to pay the guards for him if he signs his soul to him. He agrees and is told to seek out the great cube center, in the forest. He travels to the center, and is initiated into the Master Cube Society. To do so he completes 3 trials and then is sworn in by the leader. The leader tries to kill him for aligning with the cube better than he did. Upon defeating the leader Davis is summoned to the cube dimension where the master cube will change the universe for him in one way. Davis chooses to make the universe a universe where people will like him, and the cube makes everyone in the universe him. My game is radical because my goal with the game is to make the player feel that joining a cult is their best option. Most people view cult members as aliens or freaks that must have been insane to give in to a cult’s ideology. I want my game to play with the idea that anyone could be put into a situation where they view joining a cult is smart of them. The life of the character Davis is unfulfilling, and players play games to fulfill needs. Basic needs such as wanting to have fun, or needing a distraction from every day life. This game initially does not offer the player what they want in the world to proceed or explore the world, and the fastest way out is to join the cult. Development is tricky. I’ve never been an artist with visual arts like drawing or painting and so the art design aspect of development has been tough if not overwhelming at times. Getting everything to look and feel right visually can be very frustrating. Luckily I’m used to using programs similar to Unity so that portion of development has been smooth. Unfortunately development rarely gets to building in Unity as the art still needs work! The ability to make pixel art that looks anything like what I want it to be has been the most surprising about my abilities to make the game. From paper game in class I’ve learned that my ideas are clearer than I thought they were visually, but I need to learn to better express my ideas so as not to confuse people as to what’s going on or going to happen. The biggest way my game says a lot with a little is the design of the player character. One look at him and you know he’s miserable and bored with his life and the people around him. I’m also trying to get the player to feel the way the character looks in the rather small space of a simple town store you’d find in most RPGs but rather than being the hero that comes and gets cool gear, you simply greet the heroes as they come in. The player can clearly see that there are others more important than themselves and so hopefully they will want to be more like the heroes and quickly realize how nearly impossible it is to do without some sort of outside help, or rather extreme patience.
Rescue in its current form is an attempt to subvert the common RPG adventure trope of a hero rescuing a princess, but has been through numerous iterations and pivots such that numerous aspects of previous versions of the game appear in this most recent version. This history is long, complicated, and largely irrelevant, contributing to arbitrary aspects of the project. As it stands, the game is about a mother attempting to rescue her daughter, failing, and needing to be rescued by the supposedly helpless little girl. The inspiration came very soon after finishing LISA: The Painful in early February. My initial need was to create a game about a parent willing to do anything to save their child. This led to the character design of Isha, a middle-aged war veteran who is the mother of a small girl named Gemma. While initial aspects of the game revolved around the conflict between the Verda (Isha’s species of green skinned people) and humanity, I eventually dropped this idea in favor of trying to work off the medium of adventure games like Zelda and Mario, as it lay more within my areas of expertise. Because of this however, aspects of the previous world such as the Verda and Human conflict remain as backdrop and partial catalyst of the game’s events. The way I wanted to challenge the hero rescue damsel in distress narrative was to have the natural hero (Warrior character) be rescued by the small child. Since Isha was the main character of my previous idea, I made her the typical warrior character by virtue of that being what she was before. The idea was that the player would become comfortable playing as Isha and slide into the usual rhythms of an action RPG. However, once the actual quest began, Isha would be captured and the player would begin controlling the imprisoned Gemma. From there, the player would discover that Gemma had reality altering powers, able to tear holes in existence, and would go on to save her mother. This section in particular during the paper test revealed several problems in the design I had laid out. Foremost was that when control of the characters changed from Isha to Gemma, it was not clear that that was simply meant to happen as an established event, not a mechanic that the player was in control of. Because of this, the player believed that the point was to return to a more powerful body, since Gemma seemed helpless and died anytime she came into contact with guards. This revealed both that the player felt mor e kinship to Isha (partially expected given the structure and my intentions) and that the player did not realize Gemma had any powers aside from running. Much of this was a symptom of oversights on my part that did not adequately inform the player of their abilities. What was positively revealed was the idea that the player wanted to chase Gemma, who in the beginning flees from the player, reinforcing the idea of following/rescuing the “princess.” However, I’m not sure that this adequately illustrated the relationship I wanted to express. State of the game was also fairly positive, but again showed mistakes made in character design (misunderstanding the age of Isha) and the pallet of objects blurring together at times. The art otherwise has been part of the easiest of this process for me, which I found exceptionally surprising as I have no real art education. While I’ve drawn for fun before, I’ve always found the details that I mess up too marring for me to really care what I’ve create. The abstraction of pixel art however, has made me feel exceptionally good about the kind of work I can produce. I feel this is well represented in the game. Aesthetically I wanted to go for darker, earthy tones, because the original idea was to try and make the Verda seem folksy, and slightly other, but in a natural way. I also then wanted to draw attention to certain characters by using slight deviations in these colors. One of my original Verda designs thus had bright purple eyes, at odds with the dark green of his skin. I also wanted this earthiness to contrast with the humans, who I planned to put in lots of pristine, white, clothing, evocative of the Roman Republic. Development up until state of the game felt very smooth, exciting, and pointed towards a specific goal. Since then, because of revisions, expansions, and downscaling, I feel that things have slowed somewhat to a near stall as I try and figure out connections between the things I had already decided I wanted in the game, while maintaining the structure I had envisioned. The path forward is a continuing distillation of what I’m trying to express, while retaining the impact fulness I want to create. In terms of art, I have a number of assets and environments left to build, as well as more animations for the characters and the world.
Nazi Punch:The RPG is a hands on probe into the ethical dilemma of who it is or isn’t okay to use physical violence against. The goal of the game is to provide the player with a myriad of options as to how to approach “combat” with traditional physical violence being only one of the many choices. The goal of the game is to be a think piece that makes people probe deeper into their moral stances to find more nuanced understandings of their own self-imposed ethical guidelines. You play as Jacob Liebowitz, a Jewish twenty-something living in a small New Jersey town. You go to work, you buy groceries, your days are finite. The routine gets a wrench thrown in the mix when right-wing rhetoric begins to seep into your home town. Is it okay to punch Nazis? That question is at the core of this game. The environment and the player character are meant to ground the player in a very real world as an attempt to make the question less hypothetical and more theoretical. Every secondary element serves this backdrop. The notion of finite days, of limited time is meant to make the player question the weight of their actions in a world that changes on a day-to-day basis. It’s meant to make you feel as though idly standing by is the losing stance. Beyond that level of incentivization though, the player is free to choose to spend their days however they please, whether that’s arguing with internet trolls, or it’s saving up enough money to move by working full days. Just like real life, there are no rules of engagement on the social battlefield. The inspiration for this game came from the intense debate online about whether or not punching Richard Spencer was ethically sound as a course of action. It was a question I myself initially grappled with. In my own experience with the question, I found myself enriched by a deeper understanding of the ethics of violence then I had previously, and the aim of the game is to bring that to an audience. Mechanically the game has two major wellsprings of inspiration. One is the 2d RPG genre, games like Earthbound and Super Mario RPG, or more recently, Undertale. The main mechanical grounding comes from these roots, and as a player, you function along these lines. The second source of inspiration was Papers, please and it’s ability to use time and financial resources to put pressure on you as the player. Grappling with necessity on top of the ethics gives them a grounding layer, they are no longer what if scenarios but instead they are divergent paths: do you prioritize your short-term needs, or the long term health of your cultural homestead? Development is going fairly well, and the art resources for the game are coming along. The main source of frustration on my part is finding a way to create turn-based combat without inserting a clunky UI. In my prototype I was able to write out samples of what the conversations might sound like, and give the players choice within that. It demonstrated how the combat might work in the theoretical, and people seemed to respond relatively well to it. As a way of making entire areas playable, I may create a twine file to serve as a stand-in for the combat system, and create a series of locks and keys, with the locks existing in the game proper, and the keys being at the end of the twine combat encounter. In that way then, the game can respond to those encounters without them ever taking place within the Unity file itself, thus bypassing the UI bottleneck I know find myself at. If you had told me that the art would be the easiest part of the game to develop and enhance, I would’ve balked at you. I have never been a particularly talented visual artist, but in working on this game I’m finding that my limitations were mostly mechanical: I have tremors that make it very difficult to draw a straight line. In Piskel these problems disappear, and I’m finding my aesthetic sensibilities to be keener than I had realized. My state of the game went fairly well. People understood the level layout for the most part, and they grasped what I was going for. There were no serious elements of confusion where the visuals couldn’t guide people towards an understanding of utility. The paper game more than anything taught me the importance of secondary narrative threads accessible aesthetically within the world. Every design feature needs not only a general narrative purpose, but a specific one. In building it out to a larger game, I think I’ll have to go slower, more purposefully, about designing future areas, and redesigning the central map. The central goal of the aesthetic in this game is to present a world that is, visually at least not at risk. Trees aren’t dying, buildings are holding up. The threat and the emotional stakes are provided by the conversations, and eventually the appearance of threatening characters. The world does not visually change to meet their appearance, just like the real world. The central escape that this game provides is that it lets the player work out the ethical quandaries set forth at the outset in a safe environment where they can really engage with them, rather than letting the fear of real-world physical or verbal violence stand in the way of a greater, more nuanced assessment of bigotry in America. In that way then I think character design is what is most meant to convey large narrative threads in concise imagistic detail. The trump supporter and the internet trolls both have clear visual markers as to who they are as people, what they stand for, what they believe. They don’t need back stories because it’s all explained in their appearance. As more enemies pop up, I hope to continue that trend. Every encounter should happen in a way that you as the player understand your circumstances from the outset. By the end of the semester I hope for a strong, playable vertical slice of the game that conveys the larger scope and narrative future that the game has to offer. The meat of that work will come in the form of writing dialogue and narrative development on an aesthetic level. The tile sets I have so far are the majority, and only a few small interior spaces are left to be created. Overall I’m hopeful that by the time the semester comes to a close, the purpose of this game will be realized in its encapsulated form.
The elevator pitch for “Borrowing” goes something like: you play as a little yellow man who is moving into a home in the suburbs that’s way too big for just himself. By unpacking, you take part in the yellow man’s kleptomaniac tendencies, uncover his peculiar obsession with particular pieces of popular art, and learn a little about his past. It aims for a balance between dry, sardonic humor and a Twilight Zone-esque sense of unease. Ultimately the game is about plagiarism and was inspired by a moment where I was publicly accused of stealing the plot of a famous film for a short story. In designing a game where you control a man who habitually misconstrues and rationalizes stealing for borrowing, the point isn’t necessarily for the player to feel sympathy for the yellow man so much as believe that stealing is the correct way to progress and therefore be complicit in his actions. In a fully completed version of the game, it’s conceivable that there might be multiple end states: one in which you’ve fully unpacked and furnished the house with things that aren’t yours and get caught; and a second where you’ve fully unpacked without taking anything at all, with the game’s design hopefully leading the player naturally towards the former on a first playthrough. The game has its roots mostly in the mechanic-as-metaphor styled abstraction seen in Jason Rohrer’s Passage, perhaps with a bit of the inquisitive exploration of molleindustria’s Every Day the Same Dream. The original intention for the aesthetic of “Borrowing” was to be reminiscent of old-school Atari games. I wanted to challenge myself by using a very limited amount of colors for each sprite, relying on the shape of each object to convey what it was more than its texture and detail. I feel I’ve accomplished this in some ways – the two houses, for example, are limited to four shades of yellow or blue each and have no heavy detailing – reached mixed results with others – the yellow man himself and the home interiors in particular – and completely abandoned this idea in others, as with the lawns and sidewalk. I still find myself a bit more attracted to the low detail aesthetic and would hope to continue it as more art is made. There may be something to be said about a “blander”, more empty world that uses swaths of color to define itself rather than a richly detailed one. Perhaps the yellow man, dull and unoriginal as he is, sees the world this way and so is shocked (and maybe the player is, too) when he sees the richly furnished insides of the blue house contrasting so starkly with the greater suburbs and his own home, but I feel that’s something of a stretch. State of the Game was based mostly on aesthetic development and focused in on the outdoor environment and the yellow man’s design. While I agree that the more detailed sprites for the exterior were more pleasing than the simpler ones (the solid green lawn sprites in particular hurt my eyes when the character moved), I’m still interested in finding some kind of compromise between the more highly detailed sprites that are used now and the less detailed work that’s found elsewhere in the game. Comments on the yellow man I found particularly helpful and amusing, and it was in his design that I saw the biggest drawback of attempting to adopt an Atari-like style. Though many thoughts tended more or less towards what I had intended for him – an average Joe, busy businessman kind of look – the simplicity of his design and restrictive use of color legitimately can make his hat look like horns and possibly does give him a more shady, sinister look. I was specifically fascinated by the latter, especially knowing what I wanted him to do in the game. He stands as he did during the State of the Game for now, but I’m not opposed to redesigning him in any way. Going into the paper game, I was interested in seeing how it was possible to encourage the player to steal more than just the initial item required to open the boxes. I was pleasantly surprised to hear that some classmates’ first thoughts were to steal the items in the blue house, though I would hesitate to believe that that inclination was a direct result of the game, its design, or even the player’s/observers’ “gaming instinct” so much as the fact that it was readily observable in the paper models that each piece of furniture existed on its own and was therefore collectible rather than being drawn into the environment and inaccessible. The way I had originally thought to encourage the player to steal furniture from the blue house was for them to finish unpacking a box, then revealing a text prompt from the yellow man to go into the neighbor’s home and steal the corresponding piece of furniture i.e. by unpacking the box with books in it, the yellow man would indicate that he wants a bookshelf. This design does not account for a player who is disinterested in completely unpacking a particular box (the prompt from the yellow man was technically never reached, though I allowed the stealing mechanic to be unlocked and take effect anyway) and could be solved simply by having less objects in them if I wanted to keep this kind of design. The actual contents of the boxes are more or less obscure depending on how much background knowledge the player has about historical examples of actual and alleged plagiarism, and that’s something I’m willing to embrace, though having some kind of flavor note that tells the player that the yellow man is collecting pieces of supposedly plagiarized art would definitely be a plus. I was happy to see that the found flavor notes and plot hook items were capitalized on by the player (albeit at the encouragement of the observers) and the given connections between the notes and theme of the game were apparent. In a case where the player found more of these (again, probably a fault on my part from putting too many objects in each box), I feel that the theme of the game would have soon become apparent. In general, development is coming along quite nicely so far. The initial tilesets for both the interior and exterior areas of the game are entirely completed, and spritework has moved on to boxes, furnishings that can be borrowed, and the items that are unpacked. At a continuous, casual rate, I can see the majority, if not all, of the initial spritework completed sometime between a week and a week and a half. From there work on the code for picking up and placing down movable objects would commence, and I would be content to meet that milestone by the end of the semester.
Despite this being the last paper test, what became clear to me is that I want to work over the narrative ideas this game still works by: particularly, and at this point, the game is still too linear. Here a much much more non-linear approach can actually really help me out … the elevator (Tree of Knowledge) does not need to take me somewhere, for instance – this is an idea I really love: instead of going somewhere, the elevator just brings me back, perhaps. But that can become more complex – As a side-note, I am getting more and more into designing my game on tablet. The artwork used for the paper prototype was actually painted using the app Procreate on iPad, with the Apple Pencil. I am putting most of my work into designing the Garden at this point, so what I am arriving at is a conception of the elevator as a device to actually initiate change in the Garden. The main character might step into it, there might be an interlude, perhaps something wildly unexpected as the “elevator scene,” and stepping out again, the Garden has changed a bit, or even dramatically. The non-linearity lies in the fact that the Game now becomes cyclical: in fact, perhaps scenes reoccur in the elevator, and “earlier” states of the Garden can be returned to. I think I am thus abandoning the whole office space I was envisioning, and contenting and enjoying myself just developing the Garden as an explorable space in and of itself. The goal I arrive at in this way for this class and this semester is then to complete a game that works by these shifts in emphasis. In the technical sense, I want to have the main Garden scene (initial Garden), an elevator scene, and then another Garden scene, showing the Garden in a new light. What I have come up with so far is a daylight change to the Garden. What I initially developed is the Garden at dusk: and everything this symbolically suggests. There is a dark, gloomy city in the background, and somehow the earth the character moves in is barren and dark too. I am thinking of contrasting this view of the Garden with something much more cheerful: fresh, green colors for the palette, a rising sun in the background. Angela and I were talking in conference about how the Garden might thus come to take on a quality of being alive: a living, breathing organism in its own right. On the technical side again, this image has the color palette I am thinking of for the second view of the Garden. This is a wall mosaice I found in the NYC subway system: I think it was a station on the F-line somewhere … (unknown artist). The colors a cheerful. Again on the subway (the subway as a repository of art, and the time to look at it too – waiting for my stop; price of admission $2.75) I saw this piece (again unknown artist) that develops a vision of technology (transit, the train) and the city much more optimistic, as indicated by a similar color palette to the when I am eying at the moment – Thinking about my landscape like this is fun to me: it’s a project that is carrying over into the rest of my life. I am curious as to where these things might be going, thinking beyond this semester as well. For now, it is a challenge to develop this alternative form for the Garden. What are the changes I want to make beyond those to the color palette? There is a whole other aspect to this, less expected: designing a slightly “fallen,” strange, barren Garden was more fun that creating a fresh, new, healthy one. How might this aspect influence my design approach? How might I consciously let it? I want to see if I can tie it all in to work nicely together and provide a continuos experience by Game Night!
In my most recent paper prototype, I redid one of the flash fiction pieces I did previously. Here, I took PVC and completely changed the game I once had. Taking what I learned from the first two prototypes I developed a top-down RPG based entirely on the flash fiction, Industry Knowledge, and did my best to make the whole game as absurd as possible. My main goal in this design was to create several memorable characters and make the player feel as though they had real impacts on both the world and the NPCs. I did this through the use of several items that would trigger different environmental and character changes. The game also had a heavy difficulty spike, presenting the player with the end boss in the first screen. The player, upon walking into the boss would immediately die, sending them back to the opening screen. This screen would have two options, ‘Start’ and ‘Cry’, which would serve to remind the player that this game would not be forgiving of their choices. The player had complete autonomy in where they would go and what items they would pick up along the way. The various items in turn would change NPC behaviour towards them. Picking up on a note I received earlier, I wanted to capture the narrator’s aversion to the Gas Mask Lady from the story Industry Knowledge as best I could, so I had that NPC chase the player upon entering the Gas Mask Lady’s zone. The overall aesthetic emphasized minimalism and used only the bear necessities. The backgrounds contributed little but the main details, the character models were extremely vague, and the overall story even did nothing to explain what you were doing. The McGuffin of this story was really the beast. While in the previous instalment I stressed the importance of the stockings, the thing that made this game ‘work’ was the beast that is always present in the main room. You can fight the beast at anytime but it would beat you unless you completed all the tasks to make the perfect pair of battle stockings. This was mostly due to the last quote of the story that I overlooked the first time through: “this gives them the strength they are going to need.” – Chris Haehnel on The Strength Needed
I created a paper prototype for the flash fiction story “War of the Clowns” by Mi Couto. My first two paper prototypes were off the same flash fiction story, “Possessions” by John Smolens, but for my third one I decided to try something completely different. This paper prototype is about two clowns causing chaos at first amongst each other and people don’t seem bothered, more like entertained. Then as each day goes by, the crowd gets more and more into the clowns argument and fight. The goal of my paper prototype was to cause the most damage to each clown and receive the most coins from all the chaos and fighting. In this image above, it is Day 2 in the game. More people crowded around, and you have two options of damage unlocked. The first is verbal attacks and the second is a balloon sword. You get two turns to cause damage giving you a certain amount of coins from the crowd of people. ] The next image is Day 3 in the game. The goal for day 3 was to show emotion through the sky getting darker and the houses and people the same color of each clown on each side. This shows aggression and more chaos created by the clowns. Also, day 3 unlocks the punching attack or “POW!”. Next is day 4, which I tried to show as much chaos as possible. The sky is so dark, theres fire and smoke coming out of the buildings, people are dead on the floor and shooting each other and the last two items were unlocked; the stick and the bat. The more items unlocked, the more and better amount of coins the crowd of people throws. Lastly the way I had my game end was in a ironic comedy type of way, following the way the story itself ended. The two clowns, who you think throughout the game hate each other and want to kill each other, walk away happy as ever ready to destroy another town. Another little thing I added to the end was the sign that says “Thanks for coming! Visit soon!” which is ironic because the clowns destroyed the town and took all the money. Watching my paper prototype be played out today, it did not go as expected. I did not expect to get the reaction that I received, but that happens in gaming. I think I want to test out my paper prototype on some other people before I make major changes because I thought this was my best one yet, but defiantly could use some more surprising and unexpected twists to my game. One suggestion that really stuck with me was that every time an action is used, instead of receiving the same amount of coins for that action every time, to change it up. For example, the verbal attack was 1 coin every time, but what could be a better idea is for certain verbal attacks thrown, more coins could be offered than the weaker verbal attacks. Also maybe change some of the options of color I had used in the backgrounds to keep it more clear, like in day 1 where the backgrounds only color is the sun, gamers can mix that up with thinking its a special button when in my game it actually wasn’t. Mu use of abstraction in this paper prototype I feel is my best one yet. I personally enjoyed the amount of color added, I feel like it wasn’t too much but not too little. I also liked how each day went by, more color appeared not only in the background, but in the foreground where the people were. This paper prototypes structure was defiantly linear this time, with cause and effect bringing the game to it’s one and only outcome of destroying the city. My goal for this game if I were to go back and change it would be to make the actions more surprising and unexpected. Also maybe have the backgrounds change with some of the actions, like if you use the balloon sword it could rain balloons animals everywhere or if you use the sword too much it could pop!
Carter’s “Industry Knowledge” essentially details the specifications of a pair of white stockings. Because the stockings are described precisely and meticulously, I asked myself the question, “What would happen if these specifications were not met?” And that was how I approached making a prototype for a game based on the story. The gameplay consists of the player testing various footwear options in a testing zone populated by hazardous obstacles. Inappropriate footwear—i.e. difficult to balance in, electricity-conducting, not resistant to snake bites—results in the test subject falling victim to one of the obstacles. The player can “trash” certain items of footwear in order to find exactly what they need. The prototype played quite well. Although it’s certainly simple, it’s quite intuitive, and seemed engaging and amusing. The McGuffin, of course, is the stockings: the only item that allows the test subject to safely reach the exit of the testing zone. The game is somewhat non-linear because the player can choose which items of footwear to test, in which order to test them, and which to trash. In retrospect, I could have made the game more non-linear by creating a more open and less linear testing area. Once again, I think I succeeded in saying a lot with a little, using minimalism effectively, and allowing the player to easily identify what’s important. The red and green lights indicated which obstacles each item of footwear managed to bypass or not bypass. My main challenge for the future will be to create an aesthetic that’s both original and emphasizes the emotion of my story. Now that I’ve become somewhat comfortable with accurately representing objects using pixel art, I need to move on to the next step: working in an abstract, original aesthetic.
I created another paper prototype for the flash fiction story “Possessions” by John Smolens. I based this off the last paper prototype I made but made it more playable and more advanced with new ideas. The goal of this paper prototype was the goal being to get the most items to receive the most stones at the end of the game. Still included the ghostly wife can take away items hence less stones won at the end of the game. With the addition of the full map, there was the bedroom, kitchen, living room and the everything must go room. The player starts by choosing a room, but beware in each room the ghostly wife follows. The player must go up to each object and see if an item is behind it. If an item is behind the object, you will receive the item and it will be put in your inventory. If an item is not behind the object the ghostly wife takes away one of your items which cannot be found again in that room. After finishing finding the items in the room, you must drop everything off at the everything must go room. Watching my paper prototype be played out today I realized a lot about my game. The dominant reaction I received that the concept of my game was not fully grasped or that there could be so much more done with it but it had good potential. I thought about how there could be more objects within each room so it is a little harder to find the items. One comment was that the ghostly wife could do so much more than she is in the game, she could reck havoc so much more than she did instead of just taking away an item. The items themselves I thought could be a little more exciting/random. Maybe specify items specifically like a shirts, dresses and shoes, cans in the kitchen etc. Also some items could have a kind of reaction when you find them, good or bad. For example if you find the shirt you get extra stones but if you find the dress you get one stone for it and dresses fill the room as a bad reaction for getting rid of it. My use of abstraction in this paper prototype I feel is a lot better than my first one, but I still would not say its great. I defiantly need to add more color and emotion to my games characters and items. The structure of my game is defiantly still linear/branching style. My goal for this game if i were to go back and change it would be to have it play out better without any explanation and a better understanding for the games goal.
I created a paper prototype for the flash fiction story “Possessions” by John Smolens. In the game, the player controls where the Husband goes and collects all the items from each room without running into his ghostly wife. The more items the player has, the more stones you receive. The player has the option on the map to choose which room to go into first: bedroom, living room, kitchen. In the room that has been chosen, the player must find all the items in that room by walking up to objects in the room. But if the player runs into the ghostly wife, they lose one item which can not be retrieved again after gone. The controls are the arrow keys on the keyboard to move around the room: up, down, left and right. How to get the stones is returning all the items found in one room to the Everything Must Go room. The player must do this after every room or else they can’t move on. The McGuffin in this game is how many stones the player has at the end, the more the player has the better. If the player only manages to get half of the items, then the player only gets half the stones at the end of the game. My use of abstraction in this prototype is not very well since this was my first paper prototype ever. I decided that I would use color on the players character and no color on the ghostly wife to show the difference between alive and dead. The narrative structure of my game would probably be branching. I say branching because you have to go to three different rooms, but always return to the same place you started. My improvement for this game would have it play out better. Also I would redraw my layout of the game a little better because it was a little confusing to understand, but it was a good starting base.
I created a paper prototype for a game adaptation of Cuomo’s flash fiction piece “War of the Clowns.” In the game, the player controls the actions of two clowns with the goal of attracting the attention of a crowd and inciting violence. The player chooses between three possible actions for each clown: insult, trick, or fight. Upon choosing an action, the player must successfully complete a rhythm challenge to achieve the desired effect. Insult and trick actions attract the attention of passers-by and generate loyalty to a specific clown. Once passers-by become loyal, the player may then cause the clowns to fight each other in order to incite violence. I used quite a lot of visual abstraction in this prototype: icons to represent actions, exclamation points and/or question marks to represent passer-by reactions, changing clothing colors to represent loyalty, etc. I intervened in order to make the game non-linear by incorporating several locations in the game and allowing the player to access the locations in any order. The player also has choices regarding the actions of the clowns. This non-linearity expressed the story by portraying the clowns as roving agents of chaos. The McGuffin in this game is chaos and violence itself. The use of abstraction (coins falling into the street once passers-by become violent) indicates the value chaos and violence have to the clowns. I believe I used minimalism effectively. The game contains essentially three sprites that vary in color, three locations, and half a dozen game objects. The player knows exactly what’s important and can easily observe the consequences and collateral damage of their actions because of the minimalistic design. My greatest room for improvement, I think, is in the game’s aesthetic. Although I’m happy with the art considering I first forayed into pixel art about a week before creating this prototype, the game aesthetic isn’t particularly new, creative, or original. My goal for my next prototype is to develop a more unique aesthetic that serves my narrative.