FMP: Evaluation

/ dylanwhitehall

What did I produce and why?

For my final major project I decided to write a script for and produce a video game called, The Faces of Gravenhold. This particular medium is one I haven’t yet had the opportunity to explore on my course and – in an effort to do something that stood out from my previous projects – felt like a natural development for me. 

Video games are also – overall – one of, if not my favourite types of media. I love the stories writers are capable of telling in an interactive medium due to all the capabilities that others cannot. For example, role playing games (RPGs) grant players agency, allowing them to actively change and alter the story unfolding before based on the choices they make. Removing the passivity of a story that comes with films and television shows is an aspect of video games that I am endlessly fascinated with, nevermind the slew of other features of the medium – like the core gameplay. 

Unfortunately there were a few road bumps in the development of this project, especially during the final week, meaning the original game I collaborated on wasn’t in a functioning state by the due date. This original concept, however, was intended to be a visual novel. This type of video game offers little in the way of gameplay and instead leans into its story. In which, players may be presented with dialogue options that – as mentioned previously – allow them to alter certain outcomes of this story. This feature as well as – like the name entails – the visual aspects of the game (a 3D environment, illustrations and a handful of animations) are where the engagement with the player is created. 

The final piece for my project still ended up being a video game, but due to the changes I had to make it ended up being a much more simplified version of the type of game described above. 

Production

Original Production Plan/Process:

While pursuing the original plan for this project I reached out to a friend who has experience working in the video game industry. My actual knowledge of the coding behind a video game is rudimentary at best, so I was not equipped to create this type of video game on my own. Fortunately my project partner is adept with coding languages and the other technical skills required for creating a game (like animation and modelling).

Her responsibilities included: working with Unity (a piece of software, called an engine, that allows programmers to use its inbuilt tools to build games) to create a system that would integrate my script into the game, creating a virtual environment for our players to exist in and rigging specific animations. 

While my responsibilities primarily fell under writing. Over the course of this project I have been responsible for actually putting the games story and characters together, creating a script in a format that would be easily transferable to the games code. Each line of dialogue had to be imputed into a table where the text would be labelled as nodes, each having various functions attached to them. To give an example of some of these functions, simple lines of dialogue that described a scene or action were labelled as ND (narration/dialogue). Whereas sequences where players are allowed to choose this dialogue themselves was presented as PC (player choice).

These nodes would then be added to array (memory locations – storage devices if you will) in the games code and called upon while following a sequence determined by a flowchart and then written into the games code. These flowcharts essentially acted as blueprints for the game, with each line of dialogue leading to a different outcome or process. Since these flowcharts would ultimately determine the structure of the game’s narrative it was my responsibility to create them alongside my script. To create these diagrams I used an online tool at: https://app.diagrams.net/. While the script itself was written in Google docs.

However, as mentioned in my introduction, development of this version of our game had to be halted and shelved for continuation at a later date. Thankfully, from the work I had already created, I was able to salvage the project. 

New Production Plan/Process:

Twine is a piece of software similar to Unity, in that it allows people to create video games. The former is much simpler than the latter with its tools being specialised to create games with an emphasis on text and images. This simplicity does come with its benefits, however. Less complex tools makes for a more accessible interface and a short learning curve, making it excellent for someone like me who has limited knowledge on programming.

I had been made aware of this software while coming up with what I wanted to actually create for my FMP. Its accessibility provided me an opportunity to make a game all on my own from the get go, but because I soon involved my friend in the project I never properly pursued it. So, when I hit trouble during the final week of development I returned to this program to attempt to make a different version of the original game.

Thanks to the script work and flowcharts I had already created, the transition wasn’t as difficult as I feared. The flowcharts were helpful while using Twine as the software features a similar sort of structure. When is came to writing the code and implementing my script (which I unfortunately had to shorten significantly to compensate for the extra work) I set myself a new, realistic baseline:

  • To have a system that will display text in a particular sequence
  • To give players the ability to choose different dialogue options

These two goals are primarily what I focused on in the short amount of time I had to create the code. Speaking of, Twine had a variety of inbuilt systems and tools systems that helped me quickly familiarise myself with conditionals (commands that handle decisions in the program). When I needed additional help I turned to YouTube, one particular channel – Mighty Coconut – was particularly helpful in introducing me to the core systems of Twine and how they could be used to create text based games. Extra features, like a start menu and the implementation of images, came after I achieved this baseline. 

In my project proposal I actually outlined a couple of different backup plans that I would use in case I found myself in this very situation (https://witchersandwitches.wordpress.com/2022/04/29/fmp-project-proposal/). Yet when I came to figuring out how I wanted to tackle this issue, I realised how comfortable I had gotten in writing for a video game and transferring all my work into a different medium would have taken too much time or force me to remove even more content. This is why I returned to Twine rather than pursuing these plans. 

Though I have found success in doing this, it ultimately speaks to my project management skills (something I touch on more later) and how I need to spend time improving them.

Production Screenshots:

Production Illustrations:

Themes, Characters and Genre

The actual story for my production takes place in Gravenhold (a dark fantasy/gothic setting where civilisation has been crammed into the last city on the planet) wherein our protagonist Sunny, a rough and tumble assistant to the Archmage of the city, tries to track down Earissa – a woman with strange abilities that threaten to throw the city itself into chaos. 

Despite the fantastical stakes of this narrative, I set out to tell a personal story that centred around the primary theme of identity. A story about people who struggle to grapple with the unspoken truths about themselves, struggle to exist with their position in the world, purposefully sever connections and at times lose their own sense of self. There are two characters in particular – at least in the demo I was able to produce during project development – that I wanted to explore this theme through:

  • Sunny: During idea development of this project, the narrative was intended to be split into three separate chapters where you play three different characters following their own stories. The twist behind Sunny and these characters is that they are not separate characters, but in fact the same person. A shape-shifting creature named Nualia, inspired by folk tales of doppelgangers and body snatchers, who hides behind a variety of personas. This revelation would have encompassed the theme of identity by showing the development of someone constantly running from their true self in order to better fit society and muddling her very psyche with imaginary people. Hints like a quirk for excessive journaling and references to events these personas shouldn’t have experienced on their own would clue inquisitive players into the reveal – or at least, highlight the fact that there is something abnormal about these characters. 
  • Pyros: We find Pyros in a difficult spot of his life. He has been elevated to the position of Archmage (a title for the head of a prominent magical organisation in Gravenhold called The Academy) for his innate prowess in the arcane arts. Due to his young age and limited experience he faces opposition from other members among the organisation who question his capabilities as a leader. This and Pyros’ failed attempts to improve the poor quality of life in Gravenhold have led him to question his worth as a person and wonder where he really belongs. 

Sunny and Pyros’ character profiles can be read here: Sunny & Pyros Character Profiles

When writing with these two characters I found that their differing personalities and interpretations of my intended theme were effective foils for one another. This sort of combination also resulted in a sort of brother/sister relationship in the script, which I hadn’t originally set out to create. 

Underling this narrative are elements of the dark fantasy/gothic genre. I wanted to create a high fantasy world with Gravenhold but one that steered closer to The Witcher franchise rather than the works of Tolkien. The setting is bleak and surrounded by a sense of desperation in its cramped and dreary environments while classism oppresses the general populace into poorer lifestyles. 

My notes on the genre can be read on my blog: 

The themes of class and wealth are important to this setting but aren’t necessarily tied to the main message that I am trying to tell with this story. Instead they are like a backdrop to compliment the focus on the character development.  

That being said however, due to the cuts that had to be made to the script the portion that will be currently available to play through in my demo mainly stresses this idea of classism than my main intent. In future, when I am able to significantly expand the story, I hope to draw this focus back to the central theme of identity. 

While there are hints of light hearted humour sprinkled throughout the script, these characters and their journeys are intended to be more mature and serious stories. Which leads me to. . .

Audience

The target audience for my production ranges from young adult to adult, due to the themes and nature of the game’s narrative.  While I have not leaned too heavily into traditional horror, some of the sequences and imagery described are still unsettling and therefore unsuitable for younger audiences. 

More specifically, my game is targeted at gamers who enjoy RPGs and an experience that focuses more on story telling rather than gameplay – due to the amount of reading and character dilemmas throughout.  

The intended impact on the audience is to get them thinking about the central themes of the narrative but more specifically, for the demo that will be handed in for my FMP, to also build interest in this world and the characters – laying the foundation for future continuations of this project.

Links to Previous Projects

My FMP links back to a variety of work I have completed for previous projects, most notably however is my comic book. For both projects I have used my setting, Gravenhold, to write my stories. The comic, due to its short length, was rather condensed and didn’t give me many opportunities to explore and flesh out this fictional world. But, due to the freedom and scope that has come with writing this game’s narrative, I have been able to take the script to a variety of locations that each feel unique in one way or another. 

Using Gravenhold for a larger project like this felt like the most logical next step for me. Rather than coming up with a new setting for a story that I knew was going to feature fantastical elements from the get-go, it made more sense to build on top of what I already had. This was also a thought process that I applied to my characters. 

The different people players will meet in Gravenhold are, mostly, based on preexisting characters that I have created for my own personal projects. It was easier to adapt a cast of characters I was already familiar with to this setting and format rather than coming up with completely new ones, ultimately allowing my focus on other areas of development – like plotting – more. 

I feel that this project also links back to the cathartic work I completed at the start of the year. As a bisexual man the idea of idenity is one that I have personally struggled with in the past and, at times still do while trying to adjust to social norms. Even going beyond this, I still feel a connection to the theme as, growing up, I have struggled with figuring out who I want to be and where I want to go in life; internal experiences that sometimes came pacted with a lot of doubt and fear. In exploring these characters’ stories, or rather planting the seeds for them, I have been given the opportunity to start tackling these issues in a way that feels meaningful to me. 

Research and Inspiration

As a part of my primary research for this project, I took a look at various pieces of media and directly analysed them to glean what I could about video game writing. By playing through sections of games like Disco Elysium (2019) I experienced first hand how a compelling narrative unfolds before a player. Conducting this research was highly beneficial to this project as it gave me an understanding of how to tackle certain problems (such as creating diverse dialogue options) and how to structure my script. 

Naturally, the subjects of my research also partly acted as my inspiration. Their interesting worlds and compelling stories helped me come up with my own unique ideas and adapt them to script, influencing the story throughout. Sometimes I’d find it difficult to figure out a scene in my head and would turn to media like these for help. 

Similarly to this research I also took a look at a plethora of secondary sources to gather notes on writing for the medium. While these weren’t straight from the source, most came from experienced writers with insightful knowledge of the industry and what goes on behind the scenes during a video games development. 

My full research notes can be read on my blog: 

The actual concept for the central character, Sunny, and the plot for this chapter of the game’s narrative started out with a single creature design. The changeling from the table top role player game,  Dungeons and Dragons (5e) (2014- present) is a playable race/character that I have been fascinated with ever since I discovered it. In that game, changelings are creatures that can alter the appearance of their faces who are shunned for their cultural habits. While this is no unique idea – one only has to look at similar stories from folklore – it was something that really sparked my love for the uncanny valley and similar monsters, such as werewolves. I am really interested in the idea of creatures who live through masks and once I started adapting the concept with my own ideas, I began to wonder about the bigger implications of such abilities. 

This is when my baseline for Sunny’s arc took form. I thought I could combine these nonsensical elements with real world ideas and struggles – like identity – to tell a deeply personal, weird and, at times, unsettling story. 

Challenges I Had to Overcome

Like I mentioned in the section on production, my project took a major turn during the final week of production. My friend and project partner was unfortunately unable to complete her section of the project due to some personal issues she was facing at the time. While progress on the technical side of the game had been made, there were still few issues and glitches in the code that prevented us from creating a function demo. The problems were supposed to be ironed out during the final week while I tied up portions of the script, but unfortunately that of course didn’t happen. 

As a result I had to move away from writing, leaving out extra portions of the script I had hoped to finish by the due date and focus instead on ensuring I had a shorter but coherent version ready for the new production. 

This however, was not the first time I had to make cuts in the story. The original plan/baseline I had outlined with my friend at the beginning of the project was, I found, too ambitious even before we ran into issues like this. The story I wanted to write, realistically, wasn’t going to be possible for me to achieve so I focused instead on bringing the narrative for our demo to a cliffhanger to be expanded upon in our own time or during another course project. 

On the upside, I feel that this is a lesson I have already learned from. When it came to creating a new production I was able to set myself more achievable goals that kept me focused during the final stages of this project and removed a lot of stress from the added workload. 

Other issues, like writers block a few illnesses I had to deal with, affected my work output from time to time too. To deal with moments like that however, I simply stepped away from what I was currently working on to instead focus on other areas of the project that I felt were more manageable. To give a few examples: if I was sick I would focus on editing work I have already completed and if I hit any blocks I would write different scenes in the script (even if they weren’t in chronological order) or try to conduct more research. 

My project update logs can be read on my blog: https://witchersandwitches.wordpress.com/final-major-project/

Sequels/Continuation

If my project partner and I were to expand on our work here I think we would first start out by completing our story and returning to our original code to implement other planned features that we could include before. Afterwards we would work on other chapters of the grander narrative, introducing different protagonists with new stories, and eventually tying it all together in a conclusive epilogue. 

I do, however, have other ideas for projects set within the same world. 

Due to my love for video games like the Resident Evil franchise, I would love to try and work with a team to create a fully fledged survival horror game in a similar vein as the popular series. The story would follow Naulia before she adopted the persona of Sunny and guide players through her origins, acting as a sort of prequel to this game. Players will traverse an area beneath Gravenhold called the Depths as they face all manner of monsters while trying to climb back to the surface. In this project, my role as a writer would consist of writing and laying out a plan for the game’s narrative while also delivering additional snippets of information through environmental details. 

Thoughts on my Production

Despite the fact that this project saw many cuts and changes, meaning that it didn’t completely align with my original plans, I am still happy with the work I was able to complete over the course of this project. I felt that my research and other various posts on my blog were thorough and detailed, that my script – while having undergone many changes – possessed a scope I hadn’t reached with my other projects and I am proud of myself for having created a new production plan in such a short amount of time. 

I am eager to one day finish the story I have started here and created other pieces in the video game medium. 

Bibliography

Secondary:

Books:

  • Capcom (2020) Resident Evil 7: Biohazard Document File. 1st edn. Milwaukie: Dark Horse

Website Articles:

Online Videos:

Primary: 

Software:

  • Chris Klimas. 2021. Twine (2.3.16).[Software].[Accessed 10 March 2022]
  • Gaudenz Alder.2021. diagrams.net (15.8.7).[Software].[Accessed 14 March 2022]
  • Unity Technologies. 2022. Unity (2022). [Software].[Accessed 12 April 2022]

Images:

Books:

  • Shelley, M (1818) Frankenstein. 1st edn. New York City: Scholastic
  • Stoker, B (1897) Dracula. Revised edn. Westminster: Penguin Classics
  • Brandon Sanderson (2010- Present) The Stormlight Archive. 1st edn. London: Gollancz

Films:

  • The Lord of the Rings: The Two Towers (2002) [Film]. Peter Jackson.dir. New Zealand: New Line Cinema

Online Series:

Tabletop Games:

  • Wizards of the Coast (2014- Present) Dungeons and Dragons (5th edn). [Table Top Game]. Renton: Wizards of the Coast

Interviews:

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