2 0 1 0 - 1 3 5 1 7 성석현THE 2ND LAW

TROPE

• Literary Tropos : Memetics of Creativity• “standardized method of constructing or treating

an argument”• The Way of the Hero• Recurrent literary devices that

can carry common meaning

DEVELOPMENT OF GAME TROPES

• Limitations of technology, knowledge, techniques, money, time, etc… force concessions in game design and development• A sharp divide between reality and a game world.

• Creation of mechanics and boundaries to control

action and narrative• Unconscious acceptance of the ridiculous and

weird.

?

TROPE INVERSION

• Denial of the expected, a rejection of archetypes and ideas

2.5D

• Gameplay in 2D Plane with 3D graphics

EXTENDING BEYOND 2.5D BUT BELOW “TRUE” 3D

BEYOND 3D

3 “SPATIAL” DIMENSIONS, 1 “TEMPORAL”?

• Space and time merely abstraction in video games, attempt at reproducing reality• 2d, isometric, overhead, 3d, 3D+3D• Real-time, turn-based

Realtime + turnbasedRealtime + pausing• Controlling Time

“SENSUAL” DIMENSIONS

• Primary – Sight, Hearing• Color, Shape, Movement• Ambient sound, catchy music• Evoke specific feelings, emotion, ideas• “Human Dimension”• Empathy, sympathy, emotional attachment,

investment• Love of fictional characters, mourning over virtual

death and loss, paying for virtual goods

BLUR THE LINE BETWEEN REALITY AND THE GAME

BLUR THE PLAYER’S CONCEPTS OF THE GAME BASED ON REAL-WORLD EXPERIENCE

ENABLE CONSEQUENTIAL CHOICE BOTH IN NARRATIVE AND GAMEPLAY

• Not this This

GAME IDEA

• 2.5D game with 1st person perspective /3rd person overhead option• Combat based on manipulation of energy, time

and space• No points, no HP, no levels• Time vs. Skill vs. Intuition/Ingenuity• Blur line between possibility within reality and in

the game

HEAT MANIPULATION

• Able to suffuse or siphon heat from enemies and environment• Deflect attacks, weaken enemies made of certain

materials by heating or cooling them• Use of infrared to see target temperature

differential

ELECTROMAGNETIC MANIPULATION

• Use of electricity to stun enemies, affect environment• Use of magnetism to draw, push objects and

enemies• Can render enemies vulnerable to other attacks.

TIME MANIPULATION

• Create sphere of altered time• Conservation of energy in

accelerating/decelerating objects• Affects player’s perception of time• Slow time -> “low” temperature• Fast time -> “high” temperature• Does not effect electromagnetic abilities which

travel at c

SPACE MANIPULATION

• Curving space, redirection of attacks, electromagnetic attacks, no effect on heat • Teleportation/Portals?• Reduction of distance, dimension manipulation.

Force certain player perspectives

VISUAL/AUDIAL MANIPULATION

• Create illusions to trick, draw in enemies• Anti-player, hilarity• Graphic artifacts (Channel change: HIDEO)• Anasituational Pavlovian sound cues (Sound of item drop)• Subtle, gradual color change (cool to warm colors)

COMBINATION OF MECHANICS INTO ADAPTIVE PLAYSTYLE

• Spacetime + energy + physical attacks• Heating up metal knife, use time sphere to slow

enemy, use space curving to attack behind, burn cloth, etc…• Go into 1st person perspective, spot water tank,

attack support beams, douse enemy in water, use teleportation to get on high ground, electrify enemy• Or just hack and slash mindlessly

PLAYER CHARACTER

• No visible “HP”• “Energy based” Hunger Meter• Eat food to fill• Undereating, overeating, affects metabolism• Vomiting, food poisioning, necessitates high quality food

• Regulates body temperature and repair• Enemies and environment increase/decrease

body temperature, extremes can cause death• Damage affects body parts• Legs: Slowed movement, no jumping• Head: Altered vision, no hearing, altered senses

WORLD SYSTEM

• Weapon has single energy meter constantly replenished by limited resource that is also currency, narrative plot item, consumable item• Idea of “Self”, “Conservation” and “Production”• Can absorb energy to replenish energy meter• Perma-Death, possibility to escape always

available at the cost of character’s integrity in narrative. Effects only narrative and not gameplay.

OBJECTIVE

• Challenge player’s preconceptions and knowledge of game tropes using adaptive combat system and perhaps even narrative• Taking advantage of the Game Map, leading

players to wrong “destinations” based on their “directions”• Offer choice in approach. Balance is created by

player.