Process Behind the Game
Brainstorming the Idea
To start the process, I typically begin with brainstorming. Since this is in the same world of Reversed, I knew that I wanted to focus on the other main protagonist, Ken Mesini, who was the detective that killed Mike Insen. There was only a brief mention of a vague “detective” character that Mike mentions in the beginning of the first installment, so a game that focuses on Ken not only not gives context through a different focal lens, but also completes the “Reversing” of roles with Ken becoming a criminal in his next life.
In addition, because of the shift of perspective and player character, I wanted the gameplay mechanics to reflect that. So while Reversed focused more on interactions and gathering evidence in a bright, colorful setting, Reversed: Ken’s Chapter should be the opposite to emphasize Ken becoming a criminal. There would be a heavier emphasis on shadows and dim lighting, and the gameplay itself would revolve around combat and stealth to complete missions. Therefore, keeping these goals in mind, I created a pitch document, which included the project details, narrative summary, maps for each key location, gameplay features, mission steps, and visual references, to put my ideas down on paper and flesh out the details.
To start the process, I typically begin with brainstorming. Since this is in the same world of Reversed, I knew that I wanted to focus on the other main protagonist, Ken Mesini, who was the detective that killed Mike Insen. There was only a brief mention of a vague “detective” character that Mike mentions in the beginning of the first installment, so a game that focuses on Ken not only not gives context through a different focal lens, but also completes the “Reversing” of roles with Ken becoming a criminal in his next life.
In addition, because of the shift of perspective and player character, I wanted the gameplay mechanics to reflect that. So while Reversed focused more on interactions and gathering evidence in a bright, colorful setting, Reversed: Ken’s Chapter should be the opposite to emphasize Ken becoming a criminal. There would be a heavier emphasis on shadows and dim lighting, and the gameplay itself would revolve around combat and stealth to complete missions. Therefore, keeping these goals in mind, I created a pitch document, which included the project details, narrative summary, maps for each key location, gameplay features, mission steps, and visual references, to put my ideas down on paper and flesh out the details.
Whiteboxing
Using the maps I created as reference, I whiteboxed the Alvina Tilin Organization, the Town of Hanzai, and the 4 floors of the Koyangi Offices. The only art implemented in this stage was the sprite for the player character to use as reference for the height of buildings and the distance between key locations. I mainly focused on creating the rooms and placing buildings using simple geometry, as well as text renderers to temporarily mark where dialogue events, mission steps, puzzles, elevators (for the Koyangi Offices), and NPCs will be.
Using the maps I created as reference, I whiteboxed the Alvina Tilin Organization, the Town of Hanzai, and the 4 floors of the Koyangi Offices. The only art implemented in this stage was the sprite for the player character to use as reference for the height of buildings and the distance between key locations. I mainly focused on creating the rooms and placing buildings using simple geometry, as well as text renderers to temporarily mark where dialogue events, mission steps, puzzles, elevators (for the Koyangi Offices), and NPCs will be.
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Writing the Story
When writing the script for the story, I first wrote it in a Google Document and organized the scenes based on the mission steps, as outlined in my pitch document. For example, I would write the dialogue for the mission step where Ken meets Val, the boss of the Alvina Tilin Organization, and that would be a scene. By focusing on these mission steps as scenes, it allowed me to focus on how the dialogue works with the mission and how it affects the flow of the overall gameplay. Once I finished writing the script, I then put the dialogue into Excel to later implement the dialogue into the game.
When writing the script for the story, I first wrote it in a Google Document and organized the scenes based on the mission steps, as outlined in my pitch document. For example, I would write the dialogue for the mission step where Ken meets Val, the boss of the Alvina Tilin Organization, and that would be a scene. By focusing on these mission steps as scenes, it allowed me to focus on how the dialogue works with the mission and how it affects the flow of the overall gameplay. Once I finished writing the script, I then put the dialogue into Excel to later implement the dialogue into the game.
Expanding on and Coding Systems and Tools
When working on this next installment in the Reversed series, I was also using this project for my Game Scripting class. In this particular class, we were tasked with using the professor’s RPG template - bugs and all - and either work with the limitations or expand on the tools provided. Therefore, with this in mind, I spent a majority of this project in the coding stage, both expanding on existing systems and creating my own systems from scratch. For example, since I already had a dialogue tool I used to implement dialogue for Reversed, I decided to use and expand on my own tool rather than the dialogue tool provided in the template. Therefore, this allowed me both the chance to improve on my own tools and use a tool that I have created for my own game. This also helped create consistency between the two games, with dialogue working the same way and formatted in a similar fashion.
One of the tools that I expanded on from the template was the mission tool. Previously, the mission tool only allowed missions to start once the player hits a trigger. However, since I had a mission that could branch into two different missions depending on the character’s dialogue choice, I modified the tool so that missions could also be triggered by the UI dialogue buttons. In addition, there was a limitation to the mission tool’s manager, which was only capable of linear missions. In other words, players must complete mission one to unlock mission two. However, I had a mission where players try to find a way to get into the Koyangi Offices. Depending on if they go around the building to go through the window or find a drunk guard and steal their uniform, the original tool would make it so that only one would unlock the next mission once players are inside. Therefore, I adapted the tool for these nonlinear moments, so that either mission will unlock the first floor mission of the offices.
Additionally, I expanded on the combat tool. Originally, enemies simply stood there and you had to get close to them to start combat, and players only had the choice to attack or defend. However, with my iterations, I created patrolling enemies that will follow a simple path, and if they spot the player, they would then walk towards them and start combat. In addition, I not only added new magic abilities such as a shield ability and insight spell for the player but also added different types of enemies with different abilities. For example, ATO’s trainees do not have any magic abilities, but the Koyangi guards can use magic against the player, such as divine blast.
When working on this next installment in the Reversed series, I was also using this project for my Game Scripting class. In this particular class, we were tasked with using the professor’s RPG template - bugs and all - and either work with the limitations or expand on the tools provided. Therefore, with this in mind, I spent a majority of this project in the coding stage, both expanding on existing systems and creating my own systems from scratch. For example, since I already had a dialogue tool I used to implement dialogue for Reversed, I decided to use and expand on my own tool rather than the dialogue tool provided in the template. Therefore, this allowed me both the chance to improve on my own tools and use a tool that I have created for my own game. This also helped create consistency between the two games, with dialogue working the same way and formatted in a similar fashion.
One of the tools that I expanded on from the template was the mission tool. Previously, the mission tool only allowed missions to start once the player hits a trigger. However, since I had a mission that could branch into two different missions depending on the character’s dialogue choice, I modified the tool so that missions could also be triggered by the UI dialogue buttons. In addition, there was a limitation to the mission tool’s manager, which was only capable of linear missions. In other words, players must complete mission one to unlock mission two. However, I had a mission where players try to find a way to get into the Koyangi Offices. Depending on if they go around the building to go through the window or find a drunk guard and steal their uniform, the original tool would make it so that only one would unlock the next mission once players are inside. Therefore, I adapted the tool for these nonlinear moments, so that either mission will unlock the first floor mission of the offices.
Additionally, I expanded on the combat tool. Originally, enemies simply stood there and you had to get close to them to start combat, and players only had the choice to attack or defend. However, with my iterations, I created patrolling enemies that will follow a simple path, and if they spot the player, they would then walk towards them and start combat. In addition, I not only added new magic abilities such as a shield ability and insight spell for the player but also added different types of enemies with different abilities. For example, ATO’s trainees do not have any magic abilities, but the Koyangi guards can use magic against the player, such as divine blast.
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Setting Up UI
After working on the systems and tools of the game, I then began setting up the UI. There was the main interface with the mission details, player level, and Ken’s face to get to the pause screen, pause screen to see characters, inventory, or exit the game, dialogue UI, and combat UI. I focused on the alignment of text and pop ups to reduce the screen from becoming too busy, especially during combat. Combat needed to show both the player and the enemy, their respective stats, what happens in combat (Ex: Player dodges enemy), and what choices players can make when it is their turn. Therefore, I have it so that there are pop up messages that will disappear after a certain amount of time, and that players can click on buttons like magic to see the spells, and hover over spell buttons to read how the spell works.
After working on the systems and tools of the game, I then began setting up the UI. There was the main interface with the mission details, player level, and Ken’s face to get to the pause screen, pause screen to see characters, inventory, or exit the game, dialogue UI, and combat UI. I focused on the alignment of text and pop ups to reduce the screen from becoming too busy, especially during combat. Combat needed to show both the player and the enemy, their respective stats, what happens in combat (Ex: Player dodges enemy), and what choices players can make when it is their turn. Therefore, I have it so that there are pop up messages that will disappear after a certain amount of time, and that players can click on buttons like magic to see the spells, and hover over spell buttons to read how the spell works.
Implementing Missions
After the dialogue, tools, and UI are ready, I began to implement the missions in chronological order. For example, I started with the introductory mission, in which Ken Mesini is reincarnated and is brought to the Alvina Tilin Organization by Mint, who is one of the organization’s members. For each mission I would implement the steps using the tools I created, such as the dialogue tool for the first dialogue event. After implementing one mission, I would then play through that mission to look for bugs and make sure the steps were implemented properly. Then I would move on to the next mission and repeat the cycle until all the missions were implemented.
After the dialogue, tools, and UI are ready, I began to implement the missions in chronological order. For example, I started with the introductory mission, in which Ken Mesini is reincarnated and is brought to the Alvina Tilin Organization by Mint, who is one of the organization’s members. For each mission I would implement the steps using the tools I created, such as the dialogue tool for the first dialogue event. After implementing one mission, I would then play through that mission to look for bugs and make sure the steps were implemented properly. Then I would move on to the next mission and repeat the cycle until all the missions were implemented.
Implementing Art, Lighting, and Audio
When implementing the art, I wanted to stay consistent with the pixel sprites and pixel font, as well as the low poly assets. However, I wanted the overall color scheme to have a stark contrast to Reversed to show the different role Ken finds himself in. Therefore, with the lighting, I created more shadows to emphasize the dim lighting, such as street lights or lasers for the laser puzzle. Along with the use of darker shades of color, such as different hues of gray, it brings attention to how ATO works in the shadows, away from the watchful eyes of President Koyangi and the branches of her offices, and how Ken is no longer in the spotlight as a detective. I also implemented action and spy-themed music that further add suspense and keep players on their toes when sneaking inside the Koyangi Offices and fighting the guards.
When implementing the art, I wanted to stay consistent with the pixel sprites and pixel font, as well as the low poly assets. However, I wanted the overall color scheme to have a stark contrast to Reversed to show the different role Ken finds himself in. Therefore, with the lighting, I created more shadows to emphasize the dim lighting, such as street lights or lasers for the laser puzzle. Along with the use of darker shades of color, such as different hues of gray, it brings attention to how ATO works in the shadows, away from the watchful eyes of President Koyangi and the branches of her offices, and how Ken is no longer in the spotlight as a detective. I also implemented action and spy-themed music that further add suspense and keep players on their toes when sneaking inside the Koyangi Offices and fighting the guards.
Playtesting and Bug Fixing
Though I playtest throughout the process of development, as I have mentioned previously, I would playtest the entire game, from start to finish, after the art pass. While I am playing, I would note down the bugs I encounter so that I could go back and fix it, such as a mission skipping a step, or an enemy constantly choosing to defend rather than randomly choosing a move, or even a missing item in the player’s inventory after already obtaining it in the mission.
Though I playtest throughout the process of development, as I have mentioned previously, I would playtest the entire game, from start to finish, after the art pass. While I am playing, I would note down the bugs I encounter so that I could go back and fix it, such as a mission skipping a step, or an enemy constantly choosing to defend rather than randomly choosing a move, or even a missing item in the player’s inventory after already obtaining it in the mission.
Implementing Feedback
It is beneficial to get someone else, besides yourself, to playtest your games too, so I had friends and my professor playtest my game for additional feedback. One feedback I got that I am currently implementing is to add world missions as a bonus. This would add to the worldbuilding and encourage players to explore the Town of Hanzai as a supplement to the main gameplay. I have currently set it up so that players can take on multiple world missions, and that these missions can be active even if the player is still in the main mission. Once these world missions are implemented, I will return to the playtesting stage before releasing the game on itch.io.
It is beneficial to get someone else, besides yourself, to playtest your games too, so I had friends and my professor playtest my game for additional feedback. One feedback I got that I am currently implementing is to add world missions as a bonus. This would add to the worldbuilding and encourage players to explore the Town of Hanzai as a supplement to the main gameplay. I have currently set it up so that players can take on multiple world missions, and that these missions can be active even if the player is still in the main mission. Once these world missions are implemented, I will return to the playtesting stage before releasing the game on itch.io.