Game Doc

6/22/2016 The Ever Pressing Night Mobile Game Proposal
The Ever Pressing Night
Table of Contents
1. Overview....................................................................................................................................2
2. Marketing...................................................................................................................................
2
2.1. Target
Audience...................................................................................................................2
2.2. Platform................................................................................................................................
2
2.3. Deadlines..............................................................................................................................
3
2.4. Competitors..........................................................................................................................
3
2.5. Others..................................................................................................................................
.3
2.6. Future
Plans.........................................................................................................................4
3. High Concept.............................................................................................................................5
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3.1. Summary..............................................................................................................................
5
3.2. In-depth
Overview...............................................................................................................5
3.3. Key
Features........................................................................................................................6
3.4. Third-party
Software............................................................................................................6
4. Gameplay...................................................................................................................................6
4.1. First
Minute..........................................................................................................................6
4.2. General Level
Structure.......................................................................................................7
4.3. Difficulty
Curve...................................................................................................................7
4.4. Victory
Conditions...............................................................................................................8
4.5. Graphics...............................................................................................................................
8
4.6. HUD.....................................................................................................................................
9
4.7. Sound...................................................................................................................................
9
4.8. Controls..............................................................................................................................
11
4.9. Level
Design......................................................................................................................13
4.10. Puzzles...............................................................................................................................1
3
4.11. Plot.....................................................................................................................................2
0
4.12. Characters..........................................................................................................................2
2
4.13. Artificial
Intelligence.........................................................................................................24
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5. Technical Aspects....................................................................................................................24
5.1. Gameplay
Technology.......................................................................................................24
5.2. System
Requirements.........................................................................................................25
1. Overview
The Ever Pressing Night (TEPN) is a story-driven game for mobile devices (Android, iOS, and
3DS). The player’s control and the game’s narrative are split between the two halves of the
Presley family: Joe and Tim (father and son), and Anne and Mary (mother and daughter). The
game occurs in 2147, ten years after a terror attack known as, “The Mirror Dim.” The global
attack saw swarms of nanomachines released in major cities. There the nanomachines ate upon
the structures, using the material to breed, and breeding until the sky was filled with darkness.
They obscured the sun from the world. Light became a valuable resource. A value compounded
by mankind’s infection.
The nanomachines mutate people found in darkness, warping them based on their emotions:
revealing the true self within. A daily dose of light keeps the mutation from being permanent.
Thus light as the cure forms the basis of the mechanics for both campaigns. Joe and Tim’s
campaign takes the form of a survival/city manager game. This begins with the challenge of
managing resources to keep their settlement alive and supplied with light; but, is soon
complicated by the player being forced to give up a member of their settlement each chapter.
Meanwhile, Anne and Mary’s campaign takes the form of an adventure/platformer game. The
two must negotiate with terrain and people, in an effort to repair a power line (a constant source
of light) while on their way across Europe to reach a functioning dock.
2. Marketing
2.1 Target Audience
TEPN will appeal to male and female gamers ages 15 – 35 who typically play Role-Playing
Game titles. Genre-wise, the RPG label derives from the game’s focus on storytelling; however,
the game’s elements of Platforming and Management (Strategy) will also appeal to those
audiences. TEPN’s post-apocalyptic setting will aid in its broad appeal, while its spiritual sub-
theme will add an air of mysticism. Age-wise, TEPN will appeal to younger audiences wanting
to be challenged, while older audiences (New Adult/New Parent) will find the characters very
relatable, as Joe is 32 and Mary is 31, with their children being 10 and 11.
TEPN will have an ESRB rating of T (Teen) for ESRB Content Descriptors of Animated Blood,
Suggestive Themes, and Violence, suitable for ages 13 or older. To conform to the wishes of the
publisher, TEPN’s use of blood may be retracted.
2.2 Platform
Android/iOS-
On phone platforms the game can be released in an episodic format, having two chapters per
episode and five episodes total. Doing this would keep the consumer from being fatigued from
too much dialogue or drama, while also building anticipation between each episode.
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3DS-
On this platform the game would need to be released as one product. This would result,
depending on development, in a later release date for this platform; however, the general
expectation for this platform is to purchase a singular and complete project: not an episodic one.
2.3 Deadlines
The development cycle highly depends on how much depth is put into the game’s
characters/choices, along with the size of the writing team. With a linear approach (where the
choices don’t seem to have much impact after they’re made) a year and a half, at minimum, to
still develop the project to an appealing state. Optimally, with a larger writing team than one, and
maximum depth given to characters/choices, two and a half to three years.
2.4 Competitors
Episodic Games- Telltale Games-
Telltale Games has been lauded as the only game studio to correctly implement the episodic
release style. However, the studio’s strength is often dependent on another’s intellectual
properties, not their own; while their formula (limited player input and further limited/similar
choices) is becoming more apparent to their repeat customers. TEPN will avoid these criticisms
by its implementation of gameplay styles (management/survival/adventure/platformer), while
also taking more of a sniper’s approach to player choice rather than Telltale’s machinegun
approach, such as who is given up at the end of every Joe and Tim chapter.
Story-driven Games- Indie Studios-
The computer market is saturated with such titles; these range from titles made with pre-existing
assets (RPG Maker) and those original products, such as Undertale. With studio support and
labeling, however, TEPN will avoid this pitfall, especially since it aims to avoid the PC market.
A major studio release, with, of course, the accompanying quality, will set TEPN above its
competitors on the mobile market.
2.5 Others
Elevator Pitches-
For Men-
What if the last time you saw your wife, the two of you argued? What if the world changed as
she was continents away? What if ten years have passed? Ten years alone, with the son she left
you with; ten years alone, wondering if she, and the daughter she took, are still alive. Ten years,
would you wait, or would you search?
>Men’s Quick Version-
Ten years ago you argued about money; ten years ago you watched her leave with your daughter;
ten years ago you watched sky and news, as the world changed and crumbled. They flew
continents away. Ten years, would you wait, or would you search?
For Women-
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Money was his concern, while family was yours. He was wrong, you were right. He was selfish
and greedy and, and how long can you keep angry? Ten years, ten years away from him and son;
ten years in a walled off city; ten years wanting to go home, wishing you had-ten years, what’s
he like now? Your daughter, you’ve told her the worst about her dad; you’ve done your best to
keep her from looking at the wall: but next door she sees what’s missing. Enough lies, enough
anger, enough rations, perhaps, perhaps you should go home.
>Women’s Quick Version-
Was he right, were you wrong? Ten years you’ve said he was wrong; ten years you’ve told your
daughter the worst; ten years in a walled off city, trying not to hope. Ten years, and hope still
whimpers; ten years, perhaps you should go home.
For General Audiences-
A place you shouldn’t of gone to; a confession you shouldn’t of said; a word you can never take
back. Each of us bears a shame or two; well hidden beneath a smile, kept secret alone and,
sometimes awkwardly, between us and another. But, what if your shame could not be hidden,
what if each shame and sin marred your face and molded your body: what if the secret heart had
true reflection? Welcome to the long and twisted dark; welcome, to the Ever Pressing Night.
>General Quick Version-
A word you can never take back; an action your child should never know. Each of us bears those
hidden shames: each of us fears their reveal. It twists the heart in guilt; yet, what if it instead
wrenched your arms, what if it instead marked your face, what if what was within, was shown
without?
2.6 Future Plans
 Level Editor- This would apply to the Even Chapters (platforming), and would allow
players to create levels and puzzles for their friends to play. Such a feature could make
use of the 3DS’s Street Pass functionality, and therefore be an added selling point to said
port.
 Fluid Failure States- Where the failure state isn’t a hard game over, but rather a gradient
of less “good” endings. This would apply to the Odd Chapters (management), and would
allow players to see the effects of failure, while still being able to proceed with the
campaign. In management games that deal with money, the player is allowed to go into
debt: 0 or negative cash does not equal an automatic game over. But, as TEPN deals with
Food, Water, and Fuel, not Cash, this mechanic must be changed to fit the needs of the
premise and the convenience of the player. Reaching 0% in any of the game’s resources
will not result in an automatic game over; but, it will: prevent autosaving from triggering
till the player is in the positive; incur harsh penalties to the settlers’ stress and energy; and
raise the Rebellion chance. The settlers will only put up with Joe’s (the player’s)
management as long as it keeps them alive; thus, various factors will add to a percentage
chance of a rebellion being launched against Joe during the next night period. The
rebellion is a failure state. The game’s final ending will be affected by the player’s
relationship with the settlers (which starvation, thirst, and mutation tend to negatively
impact).
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o A visual representation of this concept would be a further stretch goal, as it would
see permanent mutations being added to the human forms of the settlers
(including Joe and Tim). This would be story appropriate for the game, as being
without light progressively leads to more of one’s mutated form becoming
permanent (i.e. existing even in the light). Each permanent mutation would add a
fixed percentage to the Rebellion chance, increasing its likelihood of occurring
next time a resource is at 0. Implementing this feature would give players more
varied experiences with the game; thus encouraging discussion and replayability.
If a hard mode was also implemented a feature like this would be essential to the
experience (for it would give the player even more satisfaction when they
complete the game as “pure” or with little mutation).
The rebellion chance would go up each time a rebellion fails. This probability would be
represented by a percentage. A percentage chance isn’t realistic in such a desperate situation; but,
people understand percentages, thereby making this a gameplay concession.
3. High Concept
3.1 Summary
The Ever Pressing Night is one half top down survival/city manager, and the other half 2D
platform/adventure, with an RPG style story to keep the player hooked.
3.2 In-depth Overview
TEPN’s odd numbered chapters will follow the father and son, Joe and Tim. The majority of
gameplay will take place during the game’s “daytime.” As Tim, the player will help gather
resources and resolve problems/conflicts between members of the settlement. “Night” events
may occur as Tim; but, generally, when the day ends the player will assume the role of Joe, the
settlement’s leader. As Joe, the player will choose how to use collected resources, and where to
focus the settlers’ efforts the next day. Since light is required to keep the mutation from being
permanent, the player will have to maintain a store of food, water, and light. Complications to
this task may include: weather, rival settlements, conflict inside the settlement, and having to
choose a settler to lose each chapter.
For TEPN’s even numbered chapters, the player will follow the mother and daughter, Anne and
Mary. The player controls Anne as she tries to navigate torn landscapes from Russia to France.
During “daytime” the player will work to repair a trans-continental power line. Tools, cables, and
obstacles will have to be dealt with through the help of strangers and puzzles found throughout
the levels. The daughter, Mary, is never directly controlled by the player; rather, the player will
have to, at times, guide Mary through a section, warning her about enemies or traps. “Nighttime”
occurs at the end of a level, where the player is met with a campfire scene. During this scene the
player must discuss the previous level with Mary, who reviews the player’s choices and actions
(good and bad). Campfire conversation choices affect the amount of energy the player has for the
next level. Energy will determine how fast the characters run, if Anne can pick up certain objects,
and if certain dialog choices will be successful (i.e. trying to inspire hope while utterly
depressed).
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TEPN’s payout comes from seeing the characters develop into the people they want to be, and
their struggle to come back together. Against all odds the player, depending on their choices, may
see a family reunited and joyful, in an otherwise bleak world.
3.3 Key Features
 A two-sided five act story, featuring characters not usually depicted, young parents with
children.
 A narrative that deals with marriage and parenting in a fractured, apocalyptic setting.
 A bold sub-theme of religion that is rarely broached in video-games.
 A simple yet intriguing art style that gives life to the shameful, mutated forms of the
characters.
 Two distinct styles of gameplay, with their respective settings changing or evolving as the
story goes on.
3.4 Third-party Software
iOS/Android, with a stretch goal of the 3DS.
4. Gameplay
4.1 First Minute
If a Save Game IS NOT Present, Then-
After the title screen the player will have two options (with a third, “Load Game” grayed out).
These are New Game and Options. After pressing New Game the player is shown a scene in their
character’s room on his 11th
birthday. Tim has a lit lantern close to him while sitting and reading
on his bed. His window is slightly cracked and his ceiling fan is still; thereby, combined with the
lantern, denoting a lack of electricity. Tim’s father, Joe, enters the room, and is slightly cheerful
at first, saying that he hoped his son’s birthday went well. However, Joe then soon remembers
that he saw his son with a lantern earlier that day, and Tim confesses that he’s kept it lit all day.
Joe berates his son on the waste of resources, forcing him to turn it off, revealing to the player
the dark forms of Joe and Tim as they say goodnight to each other. At this point, a minute or two
has already elapsed, though it should be mentioned that a tutorial follows this introduction.
OR
If a Save Game IS Present, Then-
After the title screen the player will have all three options (New Game, Load Game, and
Options) available to them. Pressing Load Game will allow the player to load a game which was
saved anywhere (including in the middle of dialog; but, for the sake of this document, it shall be
assumed they saved before the “Night” portion of the game). The game is loaded and they are
presented with a map containing six major regions to gain resources from. From this map, the
player assigns settlers to gather resources from different regions depending on their current need.
This section may take a minute or less to do, as the player may feel comfortable with their
previous assignments and situation; or, the player may spend several minutes trying to prevent a
failstate.
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4.2 General Level Structure
Odd Chapters (Joe and Tim)-
Each of these chapters will cover a season (in game time). Each day starts the previous night,
with the player assuming Joe’s perspective. The player will then assign residents of the
settlement to various regions depending on their skills, tools, status (stress and energy), and the
desired resource outcome. Each region has at least two kinds of resources, thus the player may
choose which the resident(s) should focus on (thereby increasing the chance of that resource
gathered, while, comparably, lowering the chances of the other resources).
During the day period the player controls Tim, whose efficiency at gathering various resources
grows with his experience in such. The player may often assign themselves to the region in most
need of help to gather resources; or, in terms of the settler they have to give up, assign
themselves to work with settlers they wish to know better.
Each chapter will cover a season; but, how many days the player will get to experience is
debatable. The lowest time frame should be 21 days. Yet, as this is a mobile game, each day may
take less than 2 minutes, resulting in about 30 minutes of gameplay per Odd Chapter. An
extension to 42 days may solve this. Appropriate pacing of dialog events may allow for 42 days
or more. The original time frame of 21 days was meant to reflect a short but not unfair amount of
time for the player to attain and maintain a balance of resources, while also making the extra
effort to get to know the settlers.
Even Chapters (Anne and Mary)-
These chapters present a series of 2D levels that the player will have to guide their characters
through. At the beginning of each stage the player will start on the right of the level and have to
work their way left, while, perhaps, also having to navigate lateral terrain. Getting to the exit
does not finish the level; rather, the player’s main goal is to repair the trans-continental power
line that is broken in at least two places across the level. Whether travelers on the surface, or
crazies down below, the player will have to persuade, work for, or trade for the help or goods of
these individuals to open areas and repair the line. After the player reaches the exit, they are
greeted with a “night” scene, where, as Anne, the player must speak to Mary. How the player
treats Mary affects the energy and mood of the characters, which manifests itself in run speed
and lifting power.
4.3 Difficulty Curve
For Odd Chapters-
Difficulty is incrementally increased between chapters through the sacrifice mechanic. The
player, as Tim, must choose a settler to give up at the end of each chapter (or else the whole
settlement will be taken). The sacrifice mechanic thus weakens the player’s settlement over time,
draining them of manpower. Effects will be:
Positive-
 Less needed of each required resource.
 Potential removal of a problematic settler.
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Negative-
 Less resource potential (required and value).
o With fewer settlers to gather resources, the player may feel pressured to send the
remaining ones to riskier regions (whose resource potential would be higher).
 Lower settlement defense.
 Higher settler stress (more drama).
With less manpower the player will have to take greater care with who they assign where. The
difficulty increase between chapters is thus meant to show the value of human life.
For Even Chapters-
Puzzle complexity and frequency of hostile NPC’s will increase with each chapter. This increase
is justified through the story, as Mary and Anne are constantly getting closer to Western Europe.
The dense population of survivors in Western Europe has drawn the attention of those who
embrace their own mutation, the Eclipse Legion. Patrols and purposeful destruction of the trans-
continental power line should be expected from such a group.
4.4 Victory Conditions
For Odd Chapters-
By maintaining a minimum amount of resources (food, water, and fuel) until the end of the
chapter, the player may proceed to the next chapter. However, before proceeding, the player may
use the “value resources” (i.e. objects that are collected but do not fall under the three required
categories) to barter with a caravan that comes through at the end of each chapter. Through
bartering the player may reach a comfortable amount of resources to start off the next chapter.
For Even Chapters-
By repairing the trans-continental power line, keeping both characters alive, and reaching the
exit of the stage, the player may proceed to the next level.
4.5 Graphics
For Odd Chapters-
Character portraits will be the standard method of character representation; however, there
should be several scenes with the characters fully drawn (and, perhaps, partly animated to give
life to dialogs and scenarios. Think storybook-like scenes, but with a lantern light flickering or a
focus action, such as chopping wood, animated).
For Even Chapters-
Character portraits should be used inside the platforming levels; while the night scenes would
have the characters fully drawn (with a fire/flashlight flickering).
4.6 HUD
For Odd Chapters-
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Rival Settlement
Region 1
Time Food Water Fuel
Region 2
Caravan
Settlement
R4
R6
R5
R 3
Worker Slot /Character Portrait
Region Resource Graph
For Even Chapters-
Health and Stamina
Mary Portrait
This window will appear during Mary segments.
Health and Stamina
Anne Portrait
Same as Odd Chapters; this arrow may be pressed to collapse/expand this window.
Can be tapped for full journal menu.
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Item Inventory
Current Selected Objective
4.7 Sound
Music for Odd Chapters-
The music for these chapters will be split between the two characters, and thus, by extension, the
two times of day. Joe’s music should reflect the condition of the settlement, with certain
instruments being assigned to the various factors (food, water, fuel, stress, and energy). The state
of these stats should be reflected in the prominence of their according instrument in the
arrangement (therefore, for example, if water was low but all others were okay, then water’s
instrument would have the most1
presence). In theory, the goal of such a musical style is to help
reward the player’s good play, while also stressing them out further during bad play.
In respect to the iOS/Android release, having a system of dynamic music that can add variety to
one or two pieces of music, should lighten the impact of music files on the overall download
size. Tim’s music will be handled in a similar way, though only one piece of music should be
required for him per chapter. This piece should be an ominous march towards the end of the
chapter, as the pressure of choosing what settler to give up mounts on the character/player.
Variation could be added to this piece if the player’s options of who to give up are limited (i.e.
there are a set of three settlers they can choose from for each chapter, rather than choosing from
all of them).Taking this path would mean assigning an instrument or chord of the arrangement to
each of the options; thereby having their part grow stronger as the player gets to know them
better.
An episodic release also gives an interesting opportunity for these chapters. As each chapter will
be a separate download, more music could be made for them. File size, in terms of music should
thus remain rather homogenous, with the prior chapter’s music taken out and new music subbed
in for the next chapter. Moreover, the seasons would affect each chapter’s music, since five
chapters should probably cover a year (start the game in Spring and go the next Spring; end
where it began). From a marketing perspective, the episodes’ releases could be timed with their
respective season in whichever hemisphere is deemed the primary market.
Music of Even Chapters-
Again, the music is split between two parts of a section; this time, however, it is split between the
platforming and nighttime sections. For the platforming music, the pieces should be determined
by the overarching situation of traveling from Russia to Western Europe. Each stage’s music
should therefore be representative of the country it is set in, and the current tone of the story. To
1 Most or Least Presence? Having it be the most reflects the demand (human element) for the resource; while,
having the instrument be the least means that it represents the statistical, sterile side of things.
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give a twist of originality to this (so that it has life past its novelty) the dynamic music system
should be implemented for this section also.
With the dynamic system in mind, the arrangements should not be played by instruments, but
rather by elements found throughout the level. For example, as each stage begins at a broken
power line, electrical surges should form the base line of any piece, with falling rocks or
pickaxes or even water drops acting as accompaniment. Initially, the volume of each part is
determined by the player’s proximity, which also aids the player by “sounding out” points of
interest. Progression is then reflected by these parts being added, permanently (and in a balanced
way), to the overall piece as the player completes their respective objectives. The end of the
stage would thus result in the player hearing the full and balanced piece as they work their way
to the exit.
During the nighttime sections, where Anne and Mary are sitting around a source of light (fire,
lantern, flashlight, etc), the tone of the music is determined by the state of the two characters.
Their state is defined by their “stress,” which itself is affected by the player’s dialog decisions in
the stages and during these scenes. The dynamic system may be implemented here with a portion
of the arrangement assigned to each character; thus, as a character’s status is weakened, so would
be their part of the arrangement. The theme itself should be independent of whatever locale the
characters find themselves in, as the mother-daughter relationship is to be the focus during these
scenes. Player choice may determine the sound/balance of an arrangement, but the arrangement
itself will change between episodes for story reasons. This theme will most likely start as a
skeleton, with pieces being added to it over the course of the episodes, thereby reflecting the
developing relationship.
4.8 Controls
For iOS/Android-
For Odd Chapters-
The player will tap the screen in accordance with whatever element they wish to interact with.
For Even Chapters-
Double tapping will allow a player to run; this should override talking or interacting with an
object, each of which will require a singular tap. Tapping on a ledge will cause (if close enough)
the character to jump and climb it. Tapping past an obstacle that requires crawling will cause the
character to auto crawl; or, if the hole is only large enough for Mary, will ask the player if they
wish to send Mary onward. During Mary sections the screen’s orientation is important, as
tapping the top portion will have Anne instruct Mary to jump, tapping the bottom will tell her to
stop, tapping certain objects will tell her to hide, tapping the left side will have her slow down,
tapping the right will have her speed up, and tapping Anne will have her return.
For 3DS-
Screen Vectors during Mary Segments. (In case phone screen functionality is copied)
Move Cursor/Move Character. (Running should activate depending on pressure/tilt).
Cancel and Jump
Confirm and Interact
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For Odd Chapters-
The bottom screen stylus capability is tempting to utilize; yet, hinging game functionality upon it
is cause for concern. If a potential customer has a damaged lower screen, then blame may be
misplaced onto the game for lack of functionality; moreover, if an individual has lost their stylus,
then that is a potential customer lost: instead, a cursor should be implemented.
The cursor will be guided by the trackpad, with the d-pad acting as a fall back or a snap-to cursor
(i.e. a cursor that only cycles through selectable icons and has no free movement). In terms of the
screens themselves, the iOS/Android HUD could be split between the two; or, some extra
development could go into having the bottom screen represent the settlers and their current
status. Full detail character drawings would thus depict the settlers in the town center. Through
this the player could see the effects of their short and long term decisions on the settlers (for
example: short term, Tim chooses a settler’s husband as tribute, and thus his whole family
appears distraught after the ordeal. For the less observant players, having these characters move
away from the center group while they grieve, would help draw attention to this detail. Long
term, the player has failed to resolve a conflict between two of the men of the group, leading to
their eventual clash. Over the course of the chapters, the neglect of this struggle would be
represented by the two men glaring at each other in the town portrait, thereby hinting to the
player that it may be something they wish to look into).
Yet, if the stylus is used, then the lower screen should contain either a list of settlers, or the
aforementioned town portrait, with the added functionality of the player being able to tap a
character for more information about them.
For Even Chapters-
As these chapters contain platforming, the easy answer is to have gameplay on the top screen and
a map on the lower screen. However, the map itself should be explained through the story by,
most likely, having the girl, Mary, fill in the map as the player explores it. A child drawn map
would give it a bit of an endearing quality, while also giving the player the necessary information
of where people/landmarks are, and the general lay of the land. Furthermore, if one wished to tug
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on the heartstrings of the player, the quality of the map could be made to reflect the state of Mary
herself. Therefore a more tired and stressed out Mary might have wavy, shaky lines; whereas an
angry Mary might have sharp lines and smudges where she’s bared down on the paper.
If stylus is used, then the lower screen should be implemented in a brief section to be added after
the nighttime sections: a diary section. During these sections the player would see the thoughts
Anne is thinking of writing down in a diary, a diary she’s making for her daughter in case she
dies during their journey. The diary details all the things Anne is unwilling or afraid to tell Mary;
thus the player can scratch out what they don’t want Anne to write, thereby guiding her to write
what they think appropriate for Mary.
4.9 Level Design
Example of Even Chapter Levels-
Icon Legend
Start Point
Power Line
Door Or Opening
Neutral NPC
Entrance to Mary Area
Hostile NPC

Rope Ladder
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Crank Elevator
4.10 Puzzles
Puzzles for Example Level-
Puzzle 1, Abandoning and Retrieving the Wire spool-
 First Step- The player is presented with the problem of getting down the cliff face. The
player can tap/interact with the power line hanging over the cliff; however, the line is
clearly too short to repel down. The player must then opt to use the wire spool, anchoring
it in nearby debris, and pulling out enough wire to repel down.
o Main Effect: Key Item, Wire Spool, removed.
o The characters will note that they must return for the wire spool before they leave
the stage.
 Second Step- The player must find a way onto the starting cliff face independent of their
wire spool. To do this the player will have to proceed and explore the ledges and cavern
floor below. Once on the Western side of the map, the player may climb the rope ladder
up to the Recluse’s hovel. From there, they may tap the hanging wire above his cave
entrance to climb atop the land mass. Investigating their surroundings will reveal that one
of the power line poles have fallen, and may be safely separated from its wires. Anne will
then use the pole to bridge the gap between the center land mass and the starting point.
Therefore the player may safely retrieve the wire spool.
o Main Effect: Key Item, Wire Spool, added; AND, Bridge added to environment.
o After the player picks up the Spool, the child, Mary, will ask how her mom means
to get the Spool across the next ravine.
 Third Step- The second ravine is too wide for the spool to be thrown across, and the fall,
same as before, is too far for it not to risk breaking. Thus the player is forced to leave the
spool behind again, anchoring it in some rubble, and being given the prompt to pull some
out as rope. This may confuse the player, depending on their progress in the other
puzzles, as the spool wire is now overlapping both the rope ladder and the nearby power
line’s wire.
o IF Spool is used as Rope, AND IF Puzzle 3 is far enough along, THEN, Main
Effect: Key Item, Rope Ladder, may be collected.
 Fourth Step- See Elevator Puzzle.
Puzzle 1 Brief:
1. Lose Spool
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2. Explore
3. Make Bridge
4. Retrieve Spool
5. Lose Spool
6. Resolve Elevator Puzzle
7. Receive Spool
Puzzle 2, Connecting the First Set of Power Lines-
 First Step- The wire hanging from the Eastern side of the middle land mass is stuck
below the cliff, wrapped in some rebar/roots. As the characters may note, the player will
need to explore the stage to find a source of rope. However, the player may go ahead and
collect some newspaper/periodicals from an old dispenser2
near the starting point.
o Main Effect: Key Item, Newspaper/Periodicals, added.
o Note: IF the Bridge is made, AND IF the player has the Wire Spool, THEN the
player can still NOT solve this puzzle, as the wire is both not small enough and
thus unable to form a proper lasso.
 Second Step- While exploring, the player will run into the Recluse NPC (the character
whose abode is reached via the rope ladder), and he will have several ropes hanging
about his room. Anne will ask for one, but the Recluse refuses, expressing that if,
perhaps, she gave him some fuel, he could part with one. At this point, the player is clued
in on either offering him the Newspaper/Periodical key item, or searching the stage for
such. Assuming the player has the item already, the Recluse will accept the trade.
o Main Effect: Key Item, Newspaper/Periodicals, removed; but, Key Item, Fringed
Rope, added.
o Note: The lighting of the Recluse’s abode should change upon finalization of the
trade. This will provide player feedback by affecting the environment, and will
also affirm player agency, as the NPC has used the item(s) requested.
 Third Step- Either from below the stuck wire, or above it (depending on if the power line
pole has been used to make a bridge) the player may use the rope to pull the caught
power line free. A bit of line from the spool will be needed to complete the fusion of the
Eastern and Central power lines.
o Main Effect: The Level is now half finished.
o Secondary Effect: IF a more industrial style is used for the environment, THEN a
light starts shining in the roof of the tunnel under the central land mass. This light
2 The machine in question is based off those seen in the United States. In the States, there are ‘Open the box’
machines. These machines have a transparent lid on the front, showing the product within. Money is paid, and the
lid is then unlocked.
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reveals a Mary Only Section that the player may not have noticed yet; therefore
they have a hint as to where to start on the second half of the level.
Second Puzzle Brief:
1. Talk to Recluse
2. Retrieve Newspaper/Periodicals
3. Exchange for Rope
4. Use Rope on Caught Wire
5. Fuse Caught Wire with Starting Zone Wire
Puzzle 3, Elevator Puzzle/Connecting the Second Set of Power Lines-
 First Step- For this quest to take on the proper name of, “Elevator Puzzle,” the player
must investigate the wire being used for the crank elevator. Investigating this wire reveals
it to be an 100ft or more segment of power line. Speaking with the Operator at the top
will reveal that he refuses to give up the wire, as he sees no other substitute to keep the
elevator functioning.
o At this point, the player may speak to the Recluse about his rope ladder. IF the
spool rope is in place over his ladder, THEN he will begin to entertain the idea.
He requires the player to get the Operator’s cooperation on the issue. However, at
this point, the Operator will refuse to cooperate.
o IF the player has not already explored the Mary Only Segment, THEN the
characters will note that they need to explore some more.
 Second Step- Exploring the level and entering the Mary Only Segment will trigger the
next stage of the quest. This is due to Mary trying to squeeze through an opening in some
rubble, only to be nearly grabbed by a deranged mutant (from now on called, the Figure).
The characters will note that they should ask the others about the Figure.
o IF the Recluse is spoken to about the Figure, THEN he will state that he doesn’t
want to talk about it. If pressed, he stays silent, looking across the fire at a rifle
leaning against the wall. The rifle cannot be inspected while he is present, as he
will tell the character to kindly leave it alone. However, if the player convinces
him to leave later, then the rifle may be inspected to find that it has one bullet.
 The latter discovery would most likely form a potential diary entry for the
3DS version.
o IF the Miner is spoken to (the NPC on the ravine floor) about the Figure, THEN
he will stutter out a response. His response gives the player a plethora of info, as
he states that he doubts the person is a fellow miner that was killed in a collapse,
as the Operator told him that the miner died for sure. Thus he guesses that the
Figure is some deviant trapped in his search for shelter (though he nearly says
food, but cuts himself off when he looks to Mary).
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o IF the Operator is spoken to about the Figure, THEN he will agree to cooperate
with the elevator IF the player helps him. The Figure is the miner who supposedly
died in the collapse. The Operator, however, deemed the man to be a horrible
father and husband, and left him to die. Afterwards, the Operator’s friend, the
Miner, helped the grieving wife and family. Anne agrees to retrieve the miner’s
helmet (the proof of who the Figure is), and the player receives a bottle of
whiskey to give the Figure.
 Main Effect: Key Item, Half-empty Whiskey, added.
 Note: IF the player approaches the Miner with this information, THEN he
will refuse to believe the player, stating that he needs more proof than a
stranger’s words.
 Note: The Operator’s goal is to destroy the evidence. By retrieving the
helmet, he believes he will be able to keep the Miner convinced that the
Figure is simply a crazy mutant, and not their old friend.
 Third Step- Using the whiskey on the Mary Only Segment will allow Mary to get past the
Figure. The player will have to guide Mary in this endeavor, having her retrieve and
return with the H-marked Helmet.
o Main Effect: Key Item, Half-empty Whiskey, removed; but, Key Item, H-marked
Helmet, added.
 After Mary reunites with her mother, they both drop down onto the path below; however,
before proceeding, Mary stops her mother, asking her who she’s going to return the
helmet to. The Operator is the easy choice, but Mary asks if it is the right choice. She
attempts to guilt her mother by recalling a character that previously helped them (the
Pilgrim, Peter). Thus Anne wonders if she shouldn’t show the helmet to the Miner or
even the Recluse.
o IF the player shows the helmet to the Recluse, THEN he will tell her to leave him
be, seeming visibly shaken at the appearance of the helmet.
o IF the player shows the helmet to the Miner, THEN the miner will ask Anne
where she got it. Anne will tell him, BUT the player must then choose whether or
not to tell the Miner of the Operator’s involvement.
 IF the player does NOT tell him, THEN the Miner will grow increasingly
nervous and depressed, eventually losing himself in thought. At this point
he has put down his pickax and is sitting on the ground. He asks Anne if
she still needs the cable from the elevator. Now the player is again
prompted with a choice: Agree and Leave; or Tell him not to do what he’s
thinking.
 IF the player chooses Agree and Leave, THEN Anne and Mary will
walk to the other side of the ravine, hearing a loud crash and shout
shortly after. The Miner overloaded the elevator with him in it,
causing it to crash on the ravine floor. The Operator is left on top,
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looking down on his dead friend below. The elevator rigging has
also fallen over, creating a bridge over the ravine above.
o Main Effect: Elevator Bridge has been made; AND Key
Item, Power Cable is available. After finishing the power
line repairs, the player may finish the level.
 IF the player chooses Stay and Help, THEN the Miner will take a
moment, and then agree to help. The player will then have to figure
out a way to overload the elevator WITHOUT the Miner being in
it.
o To do this the player must retrieve the steel dispenser they
got the Newspaper/Periodicals from. The player may then
give the dispenser to the Miner. After a short scene, the
Miner will place a rock loaded dispenser into the elevator,
along with some other loose rocks. He then calls for the
elevator to be pulled up. This breaks the elevator, leading to
the same Main Effects as the prior choice.
 IF the player DOES tell the Miner of the Operator’s involvement, THEN
the Miner pauses and looks up, in the direction of his friend; after a
moment, he will ask if she’s sure, if she has proof. Anne will then explain
how they got past the figure by using the whiskey. This clicks with the
Miner, and he takes a seat in shock. Silence pervades, but then Mary steps
forward, apologizing to the Miner for the news, telling him she thought it
was the right thing to do to tell him. He nods and agrees, speaking a little
of his family. Before standing up, he asks them what they needed from the
Operator; Anne explains the elevator situation. The Miner stands up,
saying he can do it. He takes his helmet off, ripping the letter tag from its
top and asking Anne to give him the H-marked Helmet. The exchange
complete, he tells Anne to return the Unmarked Helmet to the Operator,
and he will call for the elevator shortly after she goes up.
 Main Effect: Key Item, H-marked Helmet, removed; but, Key
Item, Unmarked Helmet, added.
 At this point the player may either deliver the unmarked helmet; or
they may visit the Recluse.
o Visiting the Recluse and informing him of what’s about to
happen will get him to leave his hovel and join the Miner
on the ravine floor. He will take his gun with him. An
exchange may then be seen between him and the Miner, as
he confesses that he heard the former miner go mad with
hunger: but did nothing to help. The Miner is still greatly
shaken from the initial revelation; thus he quietly asks what
the gun is for. The Recluse points a finger at him, stating he
feared the Miner’s anger. The Miner tells him he has
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enough to burden him, he doesn’t need the Recluse’s death
to add to that. The Recluse apologizes again and leaves.
 Main Effect: Character, The Recluse, removed from
map; and Interactable, Recluse’s Gun, removed
from map.
o Delivering the helmet to the Operator is then shortly
followed by the Miner calling for the elevator up. The
Operator attempts to hide the helmet you just gave him,
before cranking the elevator down and up. The Miner
arrives and points out the quickly hidden helmet, revealing
the H-marked Helmet in his possession, and stating that the
Operator wanted his instead. An argument ensues between
the Operator and Miner about the Operator’s lack of respect
for their former fellow’s life. The Operator puts up a weak
fight and is grappled by the Miner, who then proceeds to
slam him against the elevator rigging. The rigging falls and
the Operator collapses, barely able to look up. The Miner
picks up the H-marked Helmet and begins to walk away,
remarking to Anne that the fight made him feel even worse.
The fight had made him realize the anger he had at himself,
for now he wonders if he wanted to be fooled by the
Operator, if he wanted to believe the other man dead so that
he could pursue his wife. The Miner leaves. Anne takes a
moment before turning around and joining back with Mary
(i.e. returning control to the player).
o IF the player delivers the H-marked Helmet to the Operator, THEN he will take
the helmet and agree to give the elevator cord to Anne IF she can find him a
replacement.
 Main Effect: Key Item, H-marked Helmet, removed.
 A long term effect of this choice is the disappointment of Mary in
her mother, which would be reflected in the subsequent night’s
dialog.
 Now the player must find a replacement. The Recluse’s Rope Ladder
serves as the replacement; and, with a valid reason for taking it, the
Recluse may now be reasoned into parting with it. During this
conversation Mary asks the Recluse what he’ll do once they take his
ladder. The Recluse remarks that he’ll just burn his other ropes and wait.
The player may now choose to help Mary to convince him to live and seek
life elsewhere, or simply walk away.
 Convincing him to leave will have him removed from the map;
but, his gun will be left behind and may now be investigated.
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 Simply leaving will invoke greater penalties to Mary’s relationship
with her mother and to her statuses.
 With the rope ladder secured, the player may now return to the Operator.
After taking the rope, the Operator will call up the Miner. The two (three,
if the Recluse was convinced to leave his hovel) will remove the power
line cable from the elevator. Mary then mentions that they still need to get
across to retrieve the spool; at this note, the Miner convinces the Operator
to temporarily use the elevator rigging as a bridge over the ravine.
 Before the player ends the level, however, they will have one last
chance to do the right thing, IF the Recluse is present.
o With the Recluse present, a scene triggers as the player
begins to leave the level, where Anne finds the H-marked
Helmet hidden behind some rubble. The player is given a
simple choice of moving on or showing the helmet.
 Choosing Move On will end the level. This choice
will negatively impact Anne’s own mental state in
the long run, though Mary’s will go unaffected by
this choice, as she failed to notice the helmet.
 Choosing Show the Helmet will result in Anne
showing the helmet to the three men. The Miner
will take the helmet and stare at it, while the
Operator will stay silent, and the Recluse will begin
to back away. The Operator initially refuses to
answer the Miner’s questions, forcing the Miner to
grab and question the Recluse. The Recluse
confesses that he listened to their former fellow die.
The Miner refuses to accept the Operator’s
reasoning and apologies, at which point the latter
begins to direct his anger toward the Recluse. A
fight breaks out between the three (mainly the
Miner and Operator though). The Miner emerges
victorious, then eliciting the help of the Recluse to
take an unconscious Operator back to their
settlement.
 After whatever way the elevator puzzle is solved, a bridge will be added to the map (from
the fallen rigging of the elevator). The player may now retrieve their spool and leave the
stage, if all repairs are done.
o Main Effect: Key Item, Wire Spool, added.
Puzzle 3 Brief:
1. Investigate Elevator Cable
2. Explore Mary Only Segment
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3. Encounter Figure
4. Ask Operator About Figure
5. Distract Figure With Half-empty Whisky
6. Retrieve H-marked Helmet
7. Show H-marked Helmet to Miner or Operator
8. Resolve Chosen Quest Line
4.11 Plot
Back Story-
2120, The Beginning of Mortality’s End- Nanomachines, the first successful human-based
clinical trials have been passed, and the doors have been open to nanomachine use in humans.
Weaving muscle together tissue, repairing neurons, administering life saving medicine with no
delay, the possibilities seem endless, and certainly enviable. The United States based
conglomerate incorporating major laboratories in India and Japan made the breakthrough: the
rest of the world, however, now races to catch up.
2123, The Wrong Subject- Russia’s attempts to create their own proprietary nanomachine
technology have failed, and not for lack of effort. The state-funded project’s new leader, Viktor
Chepurnov, has proven as ineffective as his predecessor. Despite leading the project for only one
of its three years, the state takes drastic measures to motivate the scientist: they infect his wife.
Viktor works tirelessly to make the nanomachines needed to save his wife; but, as success
appears close, his wife passes. Yet, before the state can drag Viktor away to a gulag, he sabotages
the lab, escaping with the bulk of the data.
2125-37, To Arm a Beast- For 12 years Viktor has been working in labs in every setting from
metropolis to cave, for 12 years he has been serving as the lead scientist of a radical group, The
Crescent Empire. After defecting from Russia, Viktor joined the Middle Eastern group, using its
resources to complete and weaponize the nanomachine project. Viktor goes as far as assisting in
orchestrating the attack, giving exact coordinates for where each package must be set off to cover
the globe in chaos. Viktor ensures this by preparing a secret package to detonate in the heartland
of his new allies, while also hiding the math from them, as to the exact coverage of each
detonation.
August 2137, The Mirror Dim- On every continent, in every major country, bombs go off.
Undetectable, Viktor’s unique brand of nanomachines hid within the terrorists themselves. A
black cloud buzzes, a swarm akin to locusts covers the sky the world over. As the governments
try to react, the nanomachines gorge upon structures, using the material to reproduce and fill the
sky till nothing but darkness remains. Without the sun, people scurry for gas for their generators,
batteries for their lights, supplies to survive whatever has happened. The chaos is compounded
by the damage caused by the nanomachine feeding. Then, with less than a week passed, screams
emit from those seeing each other in darkness: mutation has begun. Odd shadows contort each
limb, and the worst, many believe, is that light hides the infected. Battles between the “pure” and
infected ensue, with all realizing, in the end, that they have all become infected, and that there is
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no escaping. Yet realization comes too late: governments are devolving to walled cities,
neighborhoods to tribes, and blood has been shed.
Game Story-
May-July 2137, The Split- (The following is covered indirectly by dialog from the characters;
there should be few to no actual scenes from this period). Joe and Anne Presley have had their
second child, Mary. Anne, seeing how tensions are rising across the world, tells her husband they
need to visit her parents in Russia. She wants them to see their grandchildren; but, Joe sees
another mouth to feed, and too little money. He buys himself time, telling her to recover from
giving birth. June comes around, the question comes back up, and the arguing starts. Her parents
are old, there will never be a better time, her parents need this, her kids need this, she wants to
see them once more; the money’s too tight, the trip’s too far, the world’s too unsafe: it’s just not
worth it. Anne refuses to listen, instead taking the money, in July, and flying off to Russia with
the newborn Mary. Joe is left with their one year old, Tim, wondering when she’ll be back.
March 2147, The Wall that Kept Us Safe- (This is where the Even Chapter gameplay begins). A
week to visit, a month to visit, Anne still hadn’t made up her mind, she was still angry; but, when
the cloud came and stayed, when the chaos began, it was too late. The men and boys were all
drafted, and even the women helped with the hard work sometimes. A wall was made around the
city, and the visit was extended for a decade. Yet, the hard conditions and rationing saw her
parents pass around year 6, leaving her and Anne alone and strained. Now, in the tenth year, the
city’s survival is being celebrated. The guards are supposed to be on high alert; but, a large secret
supply of vodka was recently purchased, leaving none of the guards entirely sober. Through
force and bribe the Eclipse Legion had funneled vodka into the town through a puppet merchant.
Their forces attack the town, infiltrating its walls and blowing them apart. In the chaos, they
capture as many women, boys, and girls as they can, killing those men who stay and fight. Anne
and Mary make their escape in the confusion. They soon run into a stranger, Peter the Pilgrim,
who lets them join him on his way to the Western seaboard. A couple of missions are then done
with all three characters (though Peter moves on his own); thus the player is shown the essential
functions of a Pilgrim’s life.
April (to August, at least) 2147, Though the Sun Hides, There is Light- (Even Chapter, post-
tutorial gameplay). The Eclipse Legion happens upon Peter, Anne, and Mary. To allow the
women to escape, Peter holds back the Warped Ones, fighting them with his life. Anne now takes
the station of Pilgrim, and she and Mary work they way across to the Western seaboard. Much of
their personal story is then left to the player, such as: do Mary and Anne grow closer together, or
further apart; does Mary become a better person because of her mother, or in spite of her mother;
does Anne learn to let go of her anger towards Joe, or does she cling to it and sharpen it; does
Anne become a better person, a worse person, a Christian, or does she just stay the same; and,
the questions created by the sum of the player’s choices, do they make it to the Joe’s settlement
and when?
April (to August, at least) 2147, Of Neighbors and Strangers- (This is where the Odd Chapter
gameplay begins). For ten years Joe has held down the fort, or, in this case, his and Anne’s old
suburban home. Prior neighbors make up the bulk of the community he leads, with one or two
drifters adopted into the group over the years. The first week of April covers Tim’s birthday and
the tutorial; but, the second week’s malaise is quickly shattered when a Warped One (an
individual who enjoys their permanent mutation) from the Eclipse Legion sneaks into the
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settlement and apprehends Tim. Tim is forced to choose between death or service. Service is
chosen, and a brand is placed upon his un-mutated3
chest, marking him as the Silent Crow. Now
Tim must choose a settler to sacrifice each month, or the whole settlement shall be attacked. The
story from this point on is left largely to the player, such as: do Joe and Tim grow closer together,
or further apart; does Tim continue to hate his role as Silent Crow, or does he come to take a
warped pleasure from it; does Joe become a better, optimistic man, or does he continue his
descent into nihilism; and, the question created by the sum of the player’s choices, does the
settlement survive until Anne and Mary arrive?
4.12 Characters
Protagonists-
Tim- 11 year old son of Joe and Anne Presley. A rather serious boy trying to live up to his mayor
father’s expectations, by trying to act like and become a man. Joe’s endeavors to create a strong
and adaptable son have left little humor in their home; which is then compounded by Joe’s fear
of showing nepotism. Tim’s physical prowess is also slightly subpar, with his closest friend,
Mark, having joined the men’s work at 10: something Tim failed to do. Tim has no special
ability, but rather is the vulnerable lens through which the player discovers a very demanding
world.
Anne- 31 year old mother of Mary and Tim, and wife of Joe. For the ten years prior to 2147,
Anne stoked her hatred of Joe. She knew and, perhaps, still knows it was a way to adapt, to
excuse blame from herself, to keep her from feeling guilty: guilty for something she might never
be able to apologize for. In addition to her jadedness, after her father passed, she assumed the
assertive role in the family, trying her best to show Mary that they could make it, the two of
them, no father. After meeting the Pilgrim, Anne allows her left arm mutate, so that she can more
easily carry the wire spool of a Pilgrim. This affects Anne’s strength, giving her the special
ability to lift and carry objects she otherwise couldn’t.
Deuteragonists-
Joe- 32 year old husband of Anne, and father of Mary and Tim. Husband first. He made a
mistake. He didn’t let her go; but, maybe, one day, she would come back. Joe has dedicated
every muscle, thought, and day, to keeping his neighborhood a safe haven. Ten years is a long
time to keep up hope, and each year, it gets harder. Joe’s mutated form is quite intimidating and
powerful, giving him the special ability of an increased chance to maintain order in a
chaotic/mutinous situation.
Mary-10 year old daughter of Joe and Anne, and sister of Tim. Mary’s grandmother never said it
to Anne; but, to Mary, she always held that their coming had been the wrong choice. Safer,
perhaps, but family was what mattered. The irony only hit Mary harder the older she grew.
Losing her grandparents rekindled her desire to see her father and brother: an idea her mom
seemed to have given up on. In the walled city there were other torn up families, but there were
also plenty of full ones. Happy neighbors kept her dreaming, hoping for family, and ignoring her
3 The mark of the Silent Crow has been heard of by many (though few have seen it). The mark, in any case, would
raise suspicion if seen; thus, by marking the victim’s natural chest, they are forced to prefer their mutated form for
safety.
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mother. Her special ability is her small size, which allows her access to areas her mother can’t
go.
Support (so far)-
Peter- 42 year old Pilgrim. When 2137 happened, Peter’s life, like so many others, was drained
of all that defined it. No job, no home, no money, no more daily pattern. Before the attack, he
had few friends, and no family. Now there was nowhere to go, and living didn’t seem worth the
trouble: for he finally asked the question, ‘What’s the point?’ Peter left the group he was with,
deciding to simply sit in the rubble of some building, waiting to die. But then a man happened
upon him and listened to his story. After listening, the man said he had been looking for him, and
took him back to Battery Town, bringing him to its chapel. Peter found new purpose there; and,
armed with a spool and Bible, became one of the first Pilgrims to later leave Battery Town.
Settlers- These are the neighbors and strangers in Joe’s settlement. Tim’s friend, Mark, would be
included in these. Many of these characters have not been drafted out; but, ideally, they will
cover all ages, and several backgrounds. As this is a close group in a post-civil society, drama
will, of course, exist between several sub-groups within this group.
Factions-
The Bouncing Coin- A group of merchants that visits the station near Joe’s settlement. They are
known to sell to anyone, but deal in general supplies, not weapons. They will be the caravan that
the player can resupply from at the end of a chapter.
The Eclipse Legion-Those who were first “infected” and mutated in 2137 were hunted down by
the “pure” and killed. These people, marked for death, banded together to try to reason with their
former family and friends. Reasoning failed, and more were killed. When it was then revealed
that everyone was and had been infected, the two groups stopped fighting. This pause saw quite a
few “infected” leave and join the ones who had thought themselves pure. Those that remained,
however, became far more radical and violent under the rule of several charismatic leaders. They
began to embrace their mutation, seeing it as truth and power. What had been an organized and
somewhat civil group, devolved into something near tribal. The Eclipse Legion was formed in
the Western hemisphere; and, as rumors began to spread of ritualistic torture and assimilation,
others were inspired to take up the name as well. No “pure” is within their ranks. All members
are fully mutated, and their goal is to see the world embrace it as they have.
Pilgrims- Men and women who not only spread light through generators and power lines, but
who also act as missionaries for Christianity. Their origin is Battery Town, a hub of the trans-
continental power line. Battery Town’s electrical resources enticed many survivors in a post-
2137 world. The influx of people and the attention of raiders, created a very volatile environment
for the first couple of years. Yet, when word spread of the Eclipse Legion, a chapter formed near
Battery Town, declaring the town to be the epitome of the old world. Under this focused
pressure, the town came to the brink of disaster; but, leaders arose from the religious community,
giving hope and solidarity to their city. Through adversity the city was changed, and shortly
thereafter began to send out Pilgrims, hoping to combat the Legion not by gun or sword, but by
word and light.
4.13 Artificial Intelligence
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For Odd Chapters- The settlement will have quite a few scripted events (scenarios) that may
unfold depending on: supply amounts, settler attitudes, and player choices. The timing of events
(i.e. when they occur) should be a mixture of set and unset. Set events should be events that
would occur independent of the previously stated causalities, while unset should be dependent
upon these. Having set and unset events will help add variety to the campaigns of different
players, as well their own respective replays. An example of a set event would be a birthday or a
caravan coming through, events that are largely outside of the player’s control. While an unset
event might be a scene like a neighbor griping to Tim about his father. Yet, there should also be
unset events that revolve around set events, such as a neighbor stealing food for his son’s
birthday when the supplies are low. Such mixing would give a more natural and dynamic feel to
the drama of the settlement.
For Even Chapters- Most characters found in a stage will either walk along a very specific path,
or stick to a set of animations. Enemies on these puzzle maps will generally be encountered in
Anne-guided Mary sections. These enemies will walk along a set path, while also chasing Mary
if they spot her. Their range and memory of her should be quite limited, so as to allow the player
to quickly retry what they failed.
5. Technical Aspects
5.1 Gameplay Technology
 Character Scripting System: There should be no need for fancy scripting tools in TEPN.
A C++ system could be used. The most AI scripting would take place in Mary sections;
but still, those require the AI to be told to walk back and forth, chase, give up, and return
to its previous routine.
 Event Tracker: Programming the triggers for the unset and set events of the Odd
Chapters, as well as the dynamic dialog choices of the Even Chapters, may present a
challenge. However, keeping said triggers simple, as in, Excel sheet simple, may mitigate
the issue.
 Dynamic Music System: This is the system where different elements of a composition are
tied to certain elements in the game. The connection between note and character,
instrument and resource, or mood and score, may be as simple as tying the volume levels
to the percentage value of that which they’re connected to.
5.2 System Requirements
(The following section is based on comparable games)
Minimum Requirements:
iOS/Android: iOS 6.0 or later; Android 2.3 and up.
File Size: 200-300mb per episode, plus a onetime 50mb download4
.
4 The onetime download is for the app that will house and allow access to the various episodes. This takes a page
from The Walking Dead. This app will work as a launch pad for the various episodes, as well as having space
allotted to keep track of the player’s decisions between episodes. From this app, like The Walking Dead, that player
should also be able to delete unwanted episodes.
Page 26 of 26

Comparables:
 Dragon Quest
o Size: Dragon Quests IV-VI require a little over 200mb each.
o Reason: The Dragon Quest series is used as a comparable due to its RPG nature,
which itself entails a healthy amount of dialog and game length. TEPN will not
focus on combat like Dragon Quest; however, the memory budget used for that
may instead be directed to music or more dynamic images for dialog scenes.
 The Walking Dead Season 1
o Size: The initial download is 352mb, while growing exponentially larger if all
episodes are downloaded at one time.
o Reason: The Walking Dead Season 1 is used as a comparable due to its focus on
dialog and episodic nature. The use of 2D models in TEPN will most likely keep
it from reaching the size of The Walking Dead, which uses 3D models and long
strings of animation. Moreover, TEPN’s average volume of dialog may be on par
or lower due to the game’s narrative being broken up between gameplay segments
(this is especially true of Odd Chapters).
 LIMBO
o Size: 103mb.
o Reason: LIMBO is used as a comparable due to its stylism, platforming, and
adventure elements. As such, the game pairs especially with the Even Chapters
with Mary and Anne. LIMBO’s narrative is told through the environment;
whereas TEPN’s will be told mainly through dialog. Thus, due to text, TEPN will
be larger than LIMBO; however, LIMBO still shows the visual and gameplay
footprint of the Even Chapters on the average file size.
Page 27 of 26

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