SUMMARY
This was a small collaboration between a designer, a writer, and a musician to make an interactive fiction game for the 2022 Global Game Jam.
Together, we created a speculative fiction adventure in Twine that explored the impacts of systems of oppression, police corruption, social media commentary, and the boundaries of artificial intelligence.
WIP THEMIS DIVISION
Intermediate
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THEMIS DIVISION
Release: Jan 2022
Studio: FamJam
Platforms:Â PC | Mac
Team size: 3Â (Kris Gathman, Nicholas Gathman, and myself)
Project length: 48 hours
Responsibilities:Â creative &Â design direction/collaboration, worldbuilding, narrative design/writing, business development, marketing & community management, writing
Engine and tools: Twine, Adobe Suite, Google Suite
GALLERY
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HIGHLIGHTS
Read on if you'd like to:
See highlights from Neptune's Bounty.
See more detail about my development process, with case studies.
Warning: text. Lots of it.
THE FIGHTING MCDONAGH TAVERN
A key location in Neptune's Bounty. I built the layout and crafted moment-to-moment gameplay.
This served as an exemplar of what good "spoke" (as in hub-and-spoke) spaces should feel like in BioShock in terms of:
Pacing and variety of play experience.
Amount of scripted moments vs. emergent and systems-driven gameplay.
Spatial scale.
Variety of space types and themes (eg. there's a bar area, wine cellar, basement office, and upstairs hotel rooms).
Amount of occlusion and thus "mystery" created by not being able to view an entire space from any single vantage point (the bar area is a great example of this: an open space with pillars and other vision blockers).
Amount of verticality (eg. the vertical element of a balcony overlooking the bar area).
Elements of the space were even retooled and re-used in BioShock 2, and there is a Fighting McDonagh's multiplayer map.
Moments such as a splicer wandering into the bar with a security camera in tow, or a Big Daddy showing up as you go to leave the bar feel like unscripted, systemic moments. They were however scripted. As much as possible I pushed for scripted moments to feel organic and natural. I wanted to blur the line between systemic and scripted moments so that it all feels the same to the player.
VIDEO TITLE
Video Subtitle
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SUMMARY OF CONTRIBUTIONS
I was the designer responsible for __________. I built spaces, planned and scripted gameplay, told visual stories, and acted as ambassador of the player's experience in the level.
CREATIVE DIRECTION
Creative Direction
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GAME DESIGN
Game Design
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NARRATIVE DESIGN
Narrative Design
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ART DIRECTION
Art Direction
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