Radical Game Ideas & Development

Due to the various issues impacting the contemporary world, it has been difficult to decide what topic to use when creating a radical/persuasive game. Initially, I was drawn to critique the tendency of video games to be marketed toward men, and the consequential effect this has had on the video game industry. This would have been explored via an alternative history, where video game companies in the 1980s decided to target girls over boys. The player character would be male, and the game would follow his experience as a male who is drawn towards video games in a world where that interest is dominated by females. It would start in the 1980s with the player character as a young boy who enjoys video games even though they are designed for girls (eg this universe’s version of Duck Hunt is Duck Farm where players are tasked with raising ducks, reflecting the feminine-associated trait of nurturing). The later parts of the game would follow the player character as he tries to pursue a career in the video game industry, which in this world is dominated by women. However, as I thought more about how the mechanics would work, I realized this concept might work better as a piece of interactive fiction or a short story. Apart from exploring the world and talking to other characters, there wasn’t much potential to develop game mechanics with the time frame available.

The second idea I had was a game where players must get past a group of protesters. Originally I had envisioned this taking place in front of a Planned Parenthood, due to the recent laws that have restricted abortion rights. The gameplay would involve the player character trying to get through the anti-abortion protestors to go in for a pelvic examination, or another non-abortion service Planned Parenthood provides. In terms of mechanics, there were several ideas I had in mind. One was platforming or traveling through a maze that was the parking lot, avoiding the protestors who would force you to lose health or start over. This would demonstrate how anti-abortion protesters make life difficult for people and can make people who go to Planned Parenthood feel in danger. 

Since the protester-game mechanic seemed like a better mechanic than the one for the alternative history idea, it seemed like the one I would pursue. However, after mentioning these two ideas in class and on Discord I was approached by other people interested in forming a team. While getting to know each other it came up that all of us have a dislike of Karens, which led to the idea of having one of the protesters be a Karen. This led to the idea that it would be fun to be able to play as or against a Karen. After discussing it in a group meeting, this idea evolved into the game we are currently in the process of making: a fighting game between a Karen and a barista. While on the surface humorous, the subject matter is reflective of how service industry workers are often treated poorly. To emphasize this, one of our mechanics is for every hit Karen serves she gains 5 to 10 times more points than if the barista hits her. The key inputs for the barista are also more spaced out than the ones for Karen, making it easier for Karen to hit more often. In addition to this, Karen has double the number of attacks that the barista does. This leads to a game that while technically possible to win as the barista is, like so many things for the Boomer generation, heavily tilted in Karen’s favor. Hopefully after players experience Ultimate Karen Smackdown (working title) they will treat service workers with more respect and empathy.

Let’s Talk Alex Dev Log

Last month I explored in a blog post the impact that visuals can have on interactive fiction. I compared and analyzed the visual pros and cons of a number of pieces of interactive fiction in an attempt to identify what makes each effective or ineffective. Last week I considered the lessons learned while writing that post. This led me to determine the direction I want to take for my own piece, Let’s Talk Alex, which deals with confronting a romantic partner about abusive behaviors. In this follow up to March’s interactive fiction blog post, I’ll discuss how I’m implementing the takeaways from that post and my rationale for doing so.

My exploration of interactive fiction revealed that often the best pieces of interactive fiction rely more on their writing than their style. This is why I have decided to go in a similarly minimalist style for my piece. There will be no visual imagery, allowing the words to paint the scene. I am also leaning towards shying away from extensive animations and dramatic fonts. My hope is that if the narrative is well written the feeling of the scene will be conveyed effectively enough. That said, I have not completely closed the door on implementing such effects. I’ve seen them be effectively used before in pieces like Miss No Name, so I am aware that they can have a positive effect. Yet I’m hesitant to employ them as I’m concerned that combined with the visual changes I have already implemented, it will come off to the reader as too flashy and distracting from the story.

I was very impressed with the thought put into the visual effects of Queenlash and States of Awareness. Though minimal, it was clear that their authors gave thought into their choices. The regal purple font of Queenlash’s text constantly reminds readers of the characters’ royal status, along with all the responsibility, danger, and historical significance it entails. In States of Awareness, the light sickly green text color acts as a subtle reminder of the zombie apocalypse that is the story’s backdrop. While I will be changing the font color in Lets Talk Alex it will not be determined by the setting, as a regular apartment is not as exotic Ptolemaic Egypt or a zombie apocalypse. Instead, I looked to color theory to find what color would make players feel tense, uneasy, and anxious. While red can evoke these feelings, I was concerned about its connotation as a “bad color.” It is supposed to be unclear to readers if their perception of the romantic partner as abusive is valid or not, and having the font be too much of a give away. While it might change after getting playtester feedback, I’m currently planning on having the font be a pale yellow, with links being a brighter yellow. Since yellow is associated with frustration and illness it may have the effect of making readers feel uneasy, but will not overtly imply that something is wrong. By having the links to new passages be bright yellow, my hope is that this anxious feeling will be heightened when players are deciding how to respond, thereby making the confrontation feel more real. While the effectiveness of this and other style choices I have made will need to be investigated further through playtesting, I am hopeful that the insight I’ve gained from other interactive fiction will make for a strong starting point.

Let’s Talk Alex is planned to release in Summer 2022 on itch.io.

Queenlash and Miss No-Name are available on the Spring Thing Festival of Interactive Fiction 2021 Website.

States of Awareness is available on the Spring Thing Festival of Interactive Fiction 2020 Website.

Sources

Miss No-Name. Bellamy Briks, 2021. https://www.springthing.net/2021/play_online/MissNoName/index.html

Queenlash. Kaemi Velatet, 2021. https://www.springthing.net/2021/play_online/Queenlash/Queenlash.html

States of Awareness. Kerry Taylor, 2020. https://www.springthing.net/2020/play_online/TheGolden/index.html

The Visual Impact of Interactive Fiction

Due to it’s literary foundations, visual flair is arguably something that can take a back seat when it comes to interactive fiction. While researching interactive fiction these past few weeks, I noticed that some of the most lauded pieces were lacking in extensive visual style. For example The Golden, States of Awareness, and Queenlash had the same default black background that comes when making a Twine game. Apart from the font color of each of these  being changed to something relevant to their topic (purple for the royalty of Queenlash, green for the zombies of States, and gold for Golden for obvious reasons) there was not much to differentiate each visually. 

In contrast to this, some of the more lackluster pieces of interactive fiction I’ve read were noticeably stylized. Some Space is memorable for its sci-fi background and futuristic font just as much it’s preference for puzzles over narrative. While it does add a futuristic aesthetic that fits with the narrative of a human immigrating to an alien world, there are also drawbacks to Some Space’s embellishment. The impressive quality of Some Space visuals juxtaposed against its lackluster parts do not result in a positive impression. It makes readers wonder if the writer didn’t spend as much time incorporating the puzzles into the piece as they did finding the right font. Granted this view might be unfair. Everyone has different strengths, and it is natural to want to show off what you’re good at. That said, it’s not entertaining to play or read something that was made just to show off. A piece of interactive fiction can look amazing, but it’s primarily the story being told that makes readers want to interact with it.

Although it doesn’t have as much of a sway on readers as narrative, writers of interactive fiction should still give some thought to the appearance of their work. It is possible for interactive fiction to have a memorable style and story. A good example of this is Bogeyman. The eerie black and white style of Bogeyman’s passages appropriately matches the dark subject of child abuse that is one of its themes. It sets the stage for the dark and intimidating world the protagonist finds themselves in, effectively setting the mood. In addition to color, a different font is used to indicate when the Bogeyman is talking. The heavy slightly jagged font paired with the lack of quotations makes the Bogeyman more intimidating. He comes across as speaking directly to the reader instead of the characters, making for a chillingly memorable experience. Bogeyman, along with Some Space, shows the impact style can make for better or worse when writing interactive fiction. It is worth it for authors to consider how to make their work visually unique, because when done right it can elevate an already good work.

Queenlash and Some Space are available on the Spring Thing Festival of Interactive Fiction 2021 Website.

States of Awareness and The Golden are available on the Spring Thing Festival of Interactive Fiction 2020 Website.

Bogeyman is available on the Interactive Fiction Database.

Sources

Bogeyman. Elizabeth Smyth, 2018. https://ifdb.org/viewgame?id=ltwvgb2lubkx82yi

The Golden. Kerry Taylor, 2020. https://www.springthing.net/2020/play_online/StatesOfAwareness/index.html

Queenlash. Kaemi Velatet, 2021. https://www.springthing.net/2021/play_online/Queenlash/Queenlash.html

Some Space. Rittermi, 2021. https://www.springthing.net/2021/play_online/SomeSpace/index.html

States of Awareness. Kerry Taylor, 2020. https://www.springthing.net/2020/play_online/TheGolden/index.html

Interactive Fiction: Simple Yet Diverse

Compared to the visual and technical complexity of modern video games, digital interactive fiction can at first glance seem simple and mundane. Their core gameplay is easy and intuitive to learn: read a passage, select an option to continue, rinse and repeat until you reach an ending to the tale. Anyone who has ever read a choose your own adventure book, or arguably even had a conversation, can do it. Whether in spite of or due to this simplicity, interactive fiction has blossomed to include a large body of unique works. 

Some works of interactive fiction don’t stray too far from the medium’s core gameplay, adding interest through narrative and writing style. Two examples of this are Miss No-Name and Queenlash, two award winning titles from the 2021 Spring Thing Festival of Interactive Fiction. At first Miss No-Name comes across as a fun innocent story about a popular kid in school trying to learn more about a loner in their class. Players can approach this objective a few ways, most of which are hinted at being more or less effective by situational context. As the story unfolds it becomes clear that what seems like the “right” way to approach getting to know this shy classmate is not always the most effective. This adds to the mystery of who Miss No-Name is. Not only is her identity unclear, but her preferences are abnormal. The length of Miss No-Name also works in its favor, as players can go through all the options and endings in a relatively short period of time. This provides a satisfying conclusion to the piece’s mysteries, which increases player satisfaction.

While it does not have the benefit of brevity that Miss No-Name does, Queenlash is a highly effective piece of interactive fiction in its own way. Instead of the narrative being its main draw, the writing style of Queenlash is where it shines. With long poetic passages, Queenlash is more of an immersive experience. Readers are surrounded by long walls of text using words that seem archaic and foreign, appropriately for a narrative set 2000 years ago. The story is one many people are familiar with, the rise and fall of Cleopatra VII. Unlike Miss No-Name, where the hyperlinks take players is not always clear cut, though there are still clues. For example, in a conversation where several people are being discussed the words that serve as hyperlinks have some connection to one of the subjects. This conveys to the player that these links will take them to a passage from that subject’s point of view, or go into more depth on their past or motives. It is a more effective way of getting to know the characters that feels more natural due to the hyperlinks being part of the conversation.  This makes the story feel more personal than if choices were simply reactionary.a

Authors of interactive fiction have done an impressive job of embellishing and adding to the core gameplay of their medium, further inspiring other authors to evolve their own works. The pieces examined in this post are just the tip of the iceberg when it comes to creative ways interactive fiction authors embellish their work. Pieces like Depression Quest combine their written components with impactful visual effects and sounds, while others like Some Space incorporate complex puzzles and code. For anyone who considers interactive fiction to be a lackluster part of the digital landscape, I hope this post will make you reconsider that stance and give interactive fiction a try.

Queenlash, Miss No-Name, and Some Space are available on the Spring Thing Festival of Interactive Fiction 2021 Website.

Depression Quest is available on the official Depression Quest website.

Sources

Depression Quest. Zoe Quinn, Patrick Lindsey, and Isaac Schakler, 2013. http://www.depressionquest.com/dqfinal.html

Miss No-Name. Bellamy Briks, 2021. https://www.springthing.net/2021/play_online/MissNoName/index.html

Queenlash. Kaemi Velatet, 2021. https://www.springthing.net/2021/play_online/Queenlash/Queenlash.html

Some Space. Rittermi, 2021. https://www.springthing.net/2021/play_online/SomeSpace/index.html

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