Understanding Gaming Experience Devlog 2 – Methodology and Literature Review

In the academic writing and research design I will use qualitative method. In games design and public administration fields, the qualitative research design is commonly used and proper for the topic. And in following case studies, comparative case studies will be used to illustrate pros and cons. Frostpunk by 11 bit studios and Civilization VI by Firaxis Games will the two research cases. Also, I will focus on how 11 bit studios present the history and outcomes by child labor policy in Frostpunk’s Law system.

In public policy analysis, the first step of research is to define the problem correctly, according to Bardach and Patashnik(2019). So what is child labor? The common explanation is the exploitation of children’s human rights and intervention of their schooling. Child labor situation is often related to low productivity, lack of legislation and adult labor market. As Grootaert and Kanbur(1995) point out, even though the first World Summit for Children in 1990 ”were no explicit goals relating to child labor, but the target included basic education for all children. These goals, if met, will reduce child labor.” The problem was and will never be independent from child rights protection. In policy making fields, there are many solution a government can make to improve children situation. Some are even considered unrelated in the first place.

Figure 1: Child laborers in 1909 via Wikimedia Commons

According to Grootaert and Kanbur(1995), poverty, population policy, employment opportunities for parents can all be policy intervention factors affecting child labor. In Frostpunk, the first thing we will face is poverty – lack of heating resources. In order to search for resources and food supplies, player will choose whether they will use child labor. One thing to note is that you can choose child labor from the very start of the game and it will affect till the end. Actually according some interview with players from Reddit, child labor is the first policy they make to increase productivity.

And will 11 bit studios stop at here discussing child labor? No, they took a step further. As we have talked before, the improvement of children education have positive effect on reducing child labor. In Frostpunk, if player were not choosing child labor, they can send children to training schools as apprentices. Yeah they did it into the first policy making for players. Though it will cost resources and one opportunity for policy making, it will later bring more productivity. In actual research it have the exact same outcome. For a sole family, education can be a burden at first, but later it can bring more chances to get rid of poverty for the whole family. In game, 11 bit studios erase the uncertainty and make it profitable in a long period.

One more thing to notice is that, according to Dolkemeyer(2020), Frostpunk provides a “Living-with and Dying with community” to the players. Citizens in game will react to player’s policy making as a community and a family. In making the child labor approval law, citizens will lose hope, which is a system that affect gaming process and ending. Citizens are complaining about that kids should be in school and not be working as adults.

In conclusion, we have a quick review of policy analysis process and child labor situation and affecting factors. Combining with decision making system in the game Froskpunk (11 bit studios, 2018)., we have a quick review on both child labor and the game.

Bibliography

Grootaert, C. and Kanbur, R., 1995. Child labor: A review. Available at SSRN 620526.

Dunn, W.N., 2015. Public policy analysis. Routledge.

Bardach, E. and Patashnik, E.M., 2019. A practical guide for policy analysis: The eightfold path to more effective problem solving. CQ press.

Dolkemeyer, L., 2020. Autocracy for the People. Modes of response-able Action and the Management of Demise in Frostpunk. gamevironments.

Understanding Gaming Experience Devlog 1 – Choose the Topic

Devlog 1 choosing the topic

In the first week of deciding the research topic, I chose two topics including both what I am interested in and what I did in my bachelor degree. The first topic is “moral dilemma” in games. It is the very first reason I chose games design as my lifetime career. In Witcher series by CD project RED, I faced so many moral choices which have pros and cons in both sides. Under so many choices I felt like I am more into Geralt of Rivia and the cruel worlds in Witcher. In Bioshock by 2k games, the choice between kill the little sister and save them is still a hard decision to make. In a corrupted world like Rapture, the best decision would be to harvest the little sister to become stronger in every aspect, but humanity is telling you to save them. Those decision making system are charming in Roleplaying games, making it both immersive and impressive.

Figure 1: Big Daddy and Little Sisters in Bioshock(2K Boston & 2K Australia, 2007)

Another topic is related to my degree in management. I often concentrate more on public policies of a game while playing. Is it acceptable in that situation? Do it have a prototype in real life? What would I do to change the system if I were a designer? But in the following research, I found that this question might be too broad. Almost all games have a decision-making system, while some of them are related to ruling the citizens. If I chose this topic, it must be narrowed down to a more specific question.

Bringing up these topics, I had a discussion with my course leaders and course mates. The moral dilemma is more attractive than the other, but considering the size and content of this module, I could choose this topic as my final major thesis. And the policy making system can be the practice of my academic writing and research.

Figure 2: Frostpunk(11 bit studios, 2018) has policy making system as a key mechanic

One major problem of the “policy making system” topic is how to narrow it down as a specific research question. The first version of the question is “How to refer policies and outcomes in video game design”. In that topic, it includes multiple policies and its outcomes, which might lead to a rough conclusion and unrelated case studies. For example, one policy might be about work overtime policy progression while the other might be immigration problems. These study areas are way too broad to discuss under 2500 words limit and are quite easy to lose focus.

After discussing again with Maddy and David, I changed the topic into a more distinct one: policy on child labor. The reason why choosing it is that in one of the case studies, Frostpunk by 11 bit studios have a perfect example of pros and cons in child labor usage. And until today, there are still areas in the world which have serious child labor problems. Children are not getting enough education and leisure time while they are working as an adult. And also with the contrast of different games, I can conclude more on how designers refer policies made by different governments and period of history.

In the end, the research question for my academic writing is how to design a decision-making system in video games learning from child labor: a case study.

Experimental Devlog 2 – Case Study

Remnant: From the ashes (Gunfire Games, 2019)

Figure 1. Game play in Remnant: From the ashes (Gunfire Games, 2019). Screen capture.

Attributes:

  • Boss fight design with certain patterns
  • Souls – like shooting game
  • Cooperation up to 3 players
  • Various Gear builds and multiple playthrough required

Remnent: From the ashes is a brave tryout in Souls-like games, based on From Software’s well known Soul franchise. It has a punishing difficulty curve which will bring sudden death to unprepared players. But the innovation and combination of TPS and Teamwork against monsters is still worthy playing for 20 hours. I personally play through the game solely which makes it even harder. In different gear builds, players will have the chance to try many build plans, which is the progression loop that drive players to challenge themselves. Besides, the strictly control of materials output ensures that the levels are always challenging. According to developers, players can only reach 45% of the game content during their first playthrough, so each player will experience different dungeons and bosses’ combination.

The reason that I choose Remnent: From the ashes is its boss design. Even though some critics and players do not enjoy it that much judging from game mechanics, there are still a clear pattern in boss design. The skills of each boss are normally restricted within 4 kinds. And they can be dealt with 1 move (Dogde, in Remnent: From the ashes) towards different directions. So in balancing with learning cost and playability, they found the combination is suitable.

Elements can be used:

  • Boss fight design

Alien: Isolation (Creative Assembly, 2014)

Figure 2. Game play in Alien: Isolation (Creative Assembly, 2014). Screen capture.

Attributes:

  • AI-driven stealth game
  • Perfect art design and details based on original film in 1979
  • Great horror atmosphere

Alien: Isolation is a great salute to the famous Ridley Scott’s sci-fi film Alien. It has a breathtaking horror atmosphere which reminds me of Amnesia and Outlast. (Which two, by the way, I am just too scare to finish). Player cannot kill the Xenomorph during the gameplay. Only choice is to sneak away from him. But as the alien is extremely sensitive to any sound, players are still hard to escape from it.

So in this game, the AI design of the Xenomorph is critical. Player must feel that the alien is dreadfully smart. Then they will be satisfied when they are “smarter” by finishing the game. This experience is ensured by 2 AI system in the game: Alien AI and the Director AI. While the Director AI knows player’s position the whole time, it can only tell the Alien AI roughly where the player are. And then Alien AI is there to hunt player down. This design is much like the director AI design in Valve’s Left 4 Dead, which can track how much pressure the player is taking and adjust zombie’s aggressiveness from it. This works similarly in Alien: Isolation. And in Xenomorph itself, AI is based on behavior tree containing over 100 nodes in total and almost 30 nodes in the highest level. Certain parts of the behavior tree are locked as the game starts, but in late game phase, these will be triggered to make player believe that – the Alien are learning from my pattern. This is what I what to achieve in my game.

Elements can be used:

  • AI-driven mechanism
  • Behavior tree design (unlock certain nodes under conditions)

Metal Gear Solid V: The Phantom Pain (Kojima Productions, 2015)

Figure 3. Enemy Response System in Metal Gear Solid V: The Phantom Pain (Kojima Productions, 2015), From Game Maker’s Tool kit

Attributes:

  • open world stealth game
  • a Hideo Kojima production

Metal Gear Solid V: The Phantom Pain is an open world stealth game developed by Kojima Productions and published by Konami. The game has large content that I could possibly use, so I will just focus on one design. In MGS V, there is an enemy response system. Once you clear the camp with more of headshots than other approach, the soldiers in the next level will wear helmets avoiding the player finishing the game with only one way. This AI-based system is to ensure the complete player experience in combat system, lowering the marginal benefit of using only one method. In my game, it could be used as a core mechanism that player cannot use one method to play through the whole game. They are encouraged (and forced) to discover other way to achieve the goal.

Experimental Devlog 5 – Thoughts on Machine Learning in Games

In the industry, the highest comment of an AI system is that each AI has its own characteristics. Some might be cowards but others could be brave as hell. The major usage of Behavior tree is assuring this surprising attribute. But on the other hand, even these AI enemy have their own personality in games, they are still working for player’s gaming experience.

There are trends that machine learning is replacing original AI project in many ways. Let the AI refine itself seems way more efficient than artificially changes. Like training the Alpha-Go for the Go, or other games like StarCraft II. But in actual game develop industry. I do not think machine learning will be the main stream. For whatever reason, game designers bring AI into a game not to destroy player’s experience.

For example, a Soul-like game have an extremely hard boss which use the real-time machine learning, it will have probing attack and learn from player’s positioning and habits. Like for certain kind of attack, the player will tend to dodge leftwards. Then next time the boss will have double attack, one in the original place and one in its left. If the player plays long enough without changing his or her habit, the boss will be unbeatable. It sounds cool but it will totally ruin player’s experience which is totally unacceptable in the industry.

Figure1: A AI-Driven Rock Paper Scissor Game

Another key problem in machine learning is the differences between copies. In standard development process, the game should have the similar experience for all players. But once there are machine learning implemented in the game, causing different difficulty for all players, the experience are no longer similar and standard. Players can choose to be different characters in a RPG game but they should have the same experience once they made same choices.

For a long time the Behavior tree will stay with game development. But for indie project or experimental project in games design, I am eager to see an unkillable demon AI that destroy all players.

Experimental Devlog 4 – Process and Playtest

Due to personal reasons, I have to give up some of the settings and plots and stick to the original mechanics – an evolving AI.

In implementing the plan, the game will not choose behavior tree as development tools. The reasons are listed in the last development log talking about the difference between Behavior tree and Finite state machine.

In achieving the mechanic, I will divide the game into different levels. Each level will record how the Death Bringer died so far. And if player try to kill him with repetitive solution or used solutions, boss will know and mock the player. In original plan, there are 5 levels and 4 solutions. In final stage of the game, player have to try all the repetitive solutions and then there will be a boss fight. It could be a melee fight or a shooting game like Raiden. And for now the plan will be canceled and the level will be less due to certain reasons.

Figure 1. Early development of the Death Bringer

In my original plan of level design, there should be an easy solution first, and then there will be difficult choices. But during the playtesting, players will choose the easy way frequently and have the impression that this game is a simple game. And then in the scenes of the Death Bringer knowing about what they did before, the players were surprised.

But the progression is not that good in the beginning, players found that the first solution is too easy but the second is harder than imagine. The first impression make them weaker in thinking solutions. Because there are not many levels, this cannot teach players gradually but is misleading them. If for a social game which have 100 levels, designer could use first 10 or 20 to teach the players gradually with every detail and mechanic. But for an indie game with much lesser levels, this seems not working that well.

Progression is key to the sense of achievement, making player feel that they are stronger and more powerful. But the tutorial level is not suitable for every game. Like in Sekiro: Shadow Die Twice, there are no easy mode or traditional tutorial level for players to learn. Player will learn from their own deaths and failures. In my project, there are no multiplayer content and the length of the game is rather short. So I cancel the so-called tutorial level and try to make each puzzle the same difficulty.

I will develop in this path and later have it playtested.

Experimental Devlog 1 – Concept & Prototyping

The idea of making an AI – driven game comes from a simple idea: What if the enemy knows how I beat him before. It gives the enemy AI ability to read the past, so you can call it a meta game as well.

In many AI related games, there are ways for players to cheat. Like in a stealth game, player can walk to some soldiers’ back without being noticed. And a ‘good’ game AI must explain all the time what will they do next to give players enough information. That is not fair with the AI.

The goal of this game is quite simple – beat the enemy certain times. There will be only one scene and one enemy to kill. Seem easy enough? Except that the enemy will know what method you have used so far which means player cannot beat him with the same method twice. That gives a little advantages to the AI.

Also, if possible, the dialogue between AI and player can also be an enjoyable part of the game. Maybe in the end they will become friends rather than stay hostile.

The brief story of the game will be like this: a strange doctor is building a time machine/space ship which can travel through time. And player will act as a brave soldier to stop him, because the world in the future have been destroyed by the machine.

So in developing the idea of this game, a clear scene occurs to my mind: nerdy doctor like Rick in Rick and Morty, messy lab which will give player many items and weapons to use, a time machine. These elements combined will grant creative player ways to beat the boss.

Figure 1: Rick from Rick and Morty

Looking back, I always thought of a scene in the game first rather than mechanics. So sometimes I get extremely frustrated when realizing that I may not be able to rebuild the scene due to lack of certain art assets or programming skills. As an indie developer, I think it is the best to develop your game from game mechanics instead of fancy scenes. In that case, the cost will be acceptable and tasks will be easier.

And in this term’s development, I will try to follow my course mates’ habit – stick to the plan of timeline. Use Trello or other software to record problems, thoughts and maybe possible innovations and further plans.

But let us hope that this simple idea will grow into a complete game.

Experimental Devlog 3 – Literature Review : Behavior Tree And Finite State Machine

In game industry, Behaviour tree is commonly used concerning about AI-driven development. but what we learn about AI first is normally Finite State Machine(FSM). In my project, I will use FSM as my method to code the main enemy and there are couple of reasons for this choice. And literature review grants me a clear view of these two main solution.

Figure 1 : AI in games

In my internship with a FPS project, the enemy AI is a critical part of all. What should enemy AI do at this moment? Do they always have the right option? What should they do under complex situations? Or more advanced, do they have their own personality?

Figure 2: OODA Loop

The designer I talked to give me a model for these AI-related problems. They called it the OODA loop – Observe, Orient, Decide and Act. That is from strategist and U.S. Air Force Colonel John Boyd[3]. But this procedure is for fighter pilots, which cannot be directly used as an AI judgment model. In short, there will be a blackboard or Director AI to do the Observe and part of Orient job. And in actual contact, each AI-driven enemy will do the rest. Limitation of information input of each enemy will ensure the flexibility of changing circumstances and make them feel “real”. And yes, there are different personality for each enemy which result in various actions facing players.

Figure 3: Behavior Tree in Unreal Engine

All actions above is implemented by the Behavior Tree. Here I will not fully explain how exactly behavior tree works. Tree in computer science is a data structure which provide a way to store information. And behavior tree is more like judgment procedure using the Tree structure. There are father nodes and children nodes. Decisions will only goes from father nodes to children nodes all the way down to minimal nodes, which is basic actions like running or shooting. And in different conditions, father nodes will choose different child node to make the right choice.

In comparison, there are finite state machine to operate this procedure easier to understand.

Figure 4: a case of Finite State Machine

FSM is also a concept in computer science. Each state represent a situation where the AI stays in. And with factors changes, the current state will change to another like from running to standing. There are also many conditions that helps FSM to decide.

Differences

And the main difference between these two methods is extendibility. In FSM, each state added will bring huge pressure to calculation and storage part. From description above, we can conclude that for N states in total, there will be N^2 conditional judgments max in one tick. And also it is heavy coding for developers.

There are also problems in behavior tree. The biggest one would be that different trees might conflict with each other. Like in what condition, should the AI run from players instead of shooting players? Director AI might have a decision but enemy AI have another. So in actual development, there are more structure added to avoid conflictions. Also the behavior trees will consume huge amount of memory and calculation ability when they are numerous. But there are also ways to avoid that.

Conclusion

In conclusion, in AAA project in game industry, the behavior tree will be used frequently due to its good extendibility. The designer need no programming skills to arrange fixed tree nodes. Coding team can focus more on basic nodes development. But for smaller team or project, FSM is also acceptable for simple AI enemy. And it is also convenient for indie developers who act as programmer and designer simultaneously. For my project, I will choose FSM and see how it goes. If there are problems in maintaining, I will switch to behavior tree structure instead.

Bibliography
Angerman, W.S., 2004. Coming full circle with Boyd’s OODA loop ideas: An analysis of innovation diffusion and evolution.

Saini, S., Chung, P.W.H. and Dawson, C.W., 2011, August. Mimicking human strategies in fighting games using a data driven finite state machine. In 2011 6th IEEE Joint International Information Technology and Artificial Intelligence Conference (Vol. 2, pp. 389-393). IEEE.

Nicolau, M., Perez-Liebana, D., O’Neill, M. and Brabazon, A., 2016. Evolutionary behavior tree approaches for navigating platform games. IEEE Transactions on Computational Intelligence and AI in Games, 9(3), pp.227-238

Trapped Devlog 5 – Playtesting and Experimentation

Figure 1. A mind map of Devlog 5

Playtesting

In the early version of our game which has only 1 level, we sent copies to our volunteers to feel the atmosphere and basic movement. The basic movement has slight problems like the dialogue scroll’s trigger box is a little bit bigger than expected.

And the real problem is not about the movement. First is unclear indicators. Because I build our level with free assets, it does not contain certain item showing different layers of the ground. Volunteer like my partner told me she did not understand what the main character was doing. The animation of digging is missing, so I used attack animation to replace it. It made players confused. And this problem can be fixed when the pixel art asset is ready.

Another problem during our first playtest is the lack of goal. I, as a designer, presumed player are familiar with the mining action and goal to find the jewel. But in fact, most of them are not aware of it. I tried to solve this by writing in the scroll by the wall. But only the experienced player will try to read it first. Players like my partner did not even try to read the scroll. And the solution is to put a tutorial at the beginning of the game. Show the goal loud and clear and make sure most player would understand. Also, the item inside the game should remind players to reach the goal. This can be fixed by arts and texts update.

In our final version of Trapped, unfortunately, we do not have sufficient to playtest it in a wide range. We will playtest it during development by ourselves. After submission, we will send copies and try to fix problems.

Experimentation

Metafictional element

In Trapped, we try to show players that the protagonist is trapped inside the mine as well as the game program. And each load player made, can cause a soulless protagonist’s born and death. This concept will only convey to players once they first went through the game. They will know that each load action will have a cost. And they will try to have a new game plus without load even once.

I’m not very sure if the new game plus mode would work as expected like in One Shot. If the levels are too long, the player would get tired of playing for the second time. But if it is too short, the feeling to sympathize protagonist might not raise that high. And it needs more playtesting.

Trapped has 2 endings, one for normal play like Neutral Route in Undertale. And one for a metafictional ending like True Pacifist Route and the Genocide Route. The first ending will trigger when the player ever loads the game. Loading the game in Trapped means a world will be created as no one to control the protagonist. And of course in that world, there is no function like loading, and the protagonist can only wait to die. That is why the bloodstain and skeleton exist – they are all dead protagonists. Game is created to amuse players, but they are hardly aware that character might have feelings and they might not have God’s ability – Save and load to the best ending.

The second ending is triggered when the player does not load even once. First, the protagonist will thank the player for not create more of them just for pleasure. And then he will mock the useless gems. The goal in every game might seem meaningful but to characters, they might be useless. There is no happy ending from gems and collectables. That is an indicator only meaningful to players.

In environmental storytelling, we tried scene change like in Layer of Fear. And a jump scare will be set in the middle of the gameplay. A heavy atmosphere can raise player’s curiosity about the truth. And hopefully, once they know about the truth, they will choose not to let the character suffer again.

In detailed graphic design, I tried bloodstain, crack on the wall, skeleton. Each of these will have its function. Blood can carry messages like letters or words. Skeleton can show how many corpses were left here. A crack on the wall will push the plot forward and a little jump scare.

Trapped Devlog 4 – In-team Communication

Figure 1. A mindmap of devlop 4

At the beginning of the Trapped project, I thought I could finish all the development process on my own. But the narrative-heavy metafictional game needs detailed visual content. Though I can get a prototype using free pixel assets, to get impressive gameplay requires a pixel artist. I wish to find a coursemate who is capable and willing to do the job, but it still seemed impossible. Luckily Ziqi (Leefer) reach me and said she can do the pixel art and environment storytelling part.

Team Building

First, we talked a lot about the idea of this game. Trapped is a meta-game based on the Harvest Moon series’s mining mini-game. And the story is about the veteran miner finding the jewel he wants. Trapped have 2 meaning: the miner was trapped inside the mine; the character is trapped inside the game. Luckily Ziqi is a fan of mining game and shows me the former games she played. After several rounds of chatting about the prototype, a team of 2 is formed up.

Undermine Switch Gameplay - YouTube
Figure 2. A game we discussed together, Undermine(Thorium, 2019). Screen capture.

Then the question is the job field. Metagame requires normal gameplay and discussion about the game itself. Though it has different ways to express it, with Ziqi’s help, we can use cut scenes instead of text only to show the thoughts. So in the end, I will handle the coding, writing and game design, and Ziqi will do the pixel art and environmental storytelling.

Cooperation needs the understanding of each other within the team. After talking about lifestyle and working routine, we decided to have a weekly meeting and daily talk about development progress.

Communication process

Efficient communication requires certain software. According to our daily work, Trello and WeChat are selected as tools. Trello can be used as a public space to store our progress, meeting record. In case of the time difference between me and Ziqi, Trello becomes even more important. Each of us can leave messages, thoughts, or even specific function demands. And once the user set Trello as the homepage, each difference can be noticed at once and discussed afterwards. WeChat can act as a video meeting room and social media.

https://trello.com/b/gxp1Zpeb/trapped-the-game

Each week we will discuss our process, thoughts and other things. And records are documented on the Trello page in Chinese and English language. And also there are documents in Excel to record pixel art requirement and references. There is 2 excel file about character design and cutscenes so far.

Figure 3. Trello page of Trapped project

About project management in Trapped, we arrange task into weeks. My major is public management with a bachelor degree, so this part should be my job. Feedback for each week is recorded and improvement has been made. In the last term, the Collaborative Unit had taken some time so the development time is limited.

Outcomes and difficulties

Trapped’s development, for now, has reached a point. It looks like a Harvest Moon mining game and has basic mechanics now. And in the metafictional part of Trapped, we’re trying to convey messages using text and images. The first version of Trapped will shortly be submitted and assessed.

In the environmental storytelling part. We have tried different elements to tell the story inside the mine. Bloodstain and skeletons will tell each player that the mine is extremely dangerous. And weird scratch on the wall can show there are strange things that happened before. The scene of the first levels can be mild-looking, and gradually the atmosphere will become heavy.

Figure 4. Enviornmental Design of Trapped

The main difficulty we meet together is the time difference. Ziqi is in London now while I’m still in the southern part of China. We have 8 hour’s time difference which limited real-time communication. Normally we will leave a message to each other and check after waking up. Fortunately, we have Trello and other application to ensure communication. From the outcome’s point of view, we have overcome the time difference and other minor difficulties.

Trapped Devlog 3 – Case Study

Figure 1. A mind map of devlog3

The case study starts with the block-shoving puzzler game – Helltaker (Łukasz Piskorz, 2020)

Helltaker on Steam
Figure 2. Game play in Helltaker (Łukasz Piskorz,2020). Screen capture.

Attributes: 

  • 1 solution Sokoban, action game in the late-game boss fight
  • AVG elements and the vivid character design

Helltaker is selected because of its character design and puzzle element. During gameplay, the motivation of the main character to continue is to build a demon harem. To achieve that, he has to Sokoban to reach each demon girl. And play an action game in the end. The dating system has an AVG element – 2 choices at the end of each level to demonstrate the personality of each demon girl.

In puzzle-solving, each action cost 1 step, and special action can cost 2. The player should arrange each step to reach the goal.

Elements can be used in Trapped:

  • Character building by the dialogue system
  • Puzzles with the only solution

Then I played the famous game jam version of There is no game (Draw Me A Pixel, 2015) which contains metafictional elements. In the later version, There is No Game: Wrong Dimension (Draw Me A Pixel, 2020), the game is completed with 6 and more levels and countless puzzles.

There Is No Game: Wrong Dimension review | Adventure Gamers
Figure 3. Game play in There is No Game: Wrong Dimension (Draw Me A Pixel, 2020). Screen capture.

Attributes: 

  • Fight against narrator
  • Literally breaking the fourth wall and solve the puzzle
  • Mocking free-to-play games and reflection of the game industry
  • Using Credit panel to combine solution
  • Play with actual developer’s footage
  • Each element can be used as a solution

There is no game is based on Reverse psychology – People would desire forbidden things and action. Telling players that there is no game is to ask them to find the real game which is winning against the narrator or cooperate with him. During gameplay, the development honours the old-fashioned detective game and literally breaking the fourth wall by putting them on television and break its back. Then is an adventure game and interact with in-game characters. But the following level suddenly changes into a free play game which contains endless clicking, a cheating gambling system and, of course, loads of advertisements. But with mocking the F2P games, the player has to find a solution within the advertisement. Then there is different level using different element inside a game and developer’s daily life. The game experience is full of surprises and honouring of other games. Also, the hint system is really helpful which will not ruin the pleasure of puzzle-solving.

Elements can be used in Trapped:

  • Breaking the fourth wall to solve puzzles
  • Reverse psychology

The third case is the famous Undertale (Toby Fox, 2015), which has a phenomenal fandom culture. Analyzing Undertale is a huge project. So in this case study, I will focus on metafictional content and things that can be used in our game.

Undertale: Sans Returns - ABGames
Figure 4. Game play in Undertale (Toby Fox, 2015). Screen capture.

Attributes: 

  • Load game cannot erase certain character’s  memory
  • Characters within the game can also save & load
  • Interaction with UI
  • Forced application quit
  • Neutral Route/True Pacifist Route/Genocide Route
  • LGBTQ community

In the metafictional aspect of Undertale, Toby Fox used it very cautiously. Most parts are to build a certain character. And in the most part, the meta content is about saving files. For example, if you choose Genocide Route, the save file will permanently remember the choice. And in replay mode, you will never access a True Pacifist Route but more like a detained Pacifist Route. The only way to solve this is to close the save file sync in Steam and reinstall the whole game. That will form a rule: Some characters will remember what the player did and know that player’s capable of saving and loading. That character design together with the mechanism is awesome.

In the boss fight with the King, he will destroy the player’s UI content which will allow the player to show mercy to enemies.

Elements can be used in Trapped:

  • Use save & load mechanics to build the character’s personality.
  • UI content change to build atmosphere

Last but not least, my favourite game in the metafictional area: One Shot(Future Cat, 2016). The game is first released with a harsh punishment system. Once the player closes the game in an inappropriate area, the main character will die instantly, and the program will accuse you of it. That is why the game is called One Shot because you only get one chance to make everything right. In the later version, the permanent death system was removed which I think should not happen.

Oneshot Review | New Game Network
Figure 5. Game play in One Shot(Future Cat, 2016). Screen capture.

Attributes:

  • Solve puzzles using actual file system
  • Instant death if you quit incorrectly in an early version
  • The protagonist is aware of the existence of the player and will interact with the player
  • Windowed mode is recommended concerning gameplay and mechanics

The thing I appreciate about it is that the protagonist Niko is aware that he/she does not belong in this game program. All we need to do is find a way to send him/her back. But after what we experienced during the whole game. We will feel lonely about the departure. And there is no way to a reunion. And puzzle-solving part is combined closely with the computer file system which is outside of the game. Messing with the file system is not welcomed in many players’ point of view, but One Shot manages to find a balance.

Furthermore, the puzzles and mechanics are combined with the windowed mode of the game, which is surprising. In the final scene, Niko walks outside the game window and then walk outside the screen is something I can remember for a long time.

Elements can be used in Trapped:

  • New game plus to reach the True End.
  • Puzzle-solving with the actual file system.