Zombie God (College Extended Project (Unit 13))

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Zombie God

Zombie God is the product of my extended project in college and centres itself around the premise of storytelling in games as well as the identity of characters within stories and how they are explored. This project was months in the works and this will go over everything from research to pre production to reflection and evaluation.

Planning and Research

I started this project with idea generation and general filtration of concepts and genres I wanted to explore. To start with me and the rest of piers used a series of post it notes in combination with time limits to come up with goals of games, titles and general ideas that could only fit onto something small that we could then expand on across our projects.

These post it notes include a variety of different potential ideas, premises and general concepts that I could've potentially explored throughout the rest of my project. My main focus ended up being the relatively simple proposition of Climb the Tower. Humble in its origins of tower climbing this title wouldn't have much depth to it however I proceed to think heavily on the potential ways this could be interpreted and used that to create the inevitable goal of my game.

Moving forward from the post it notes experiments I began writing out necessary tasks that I needed to accomplish across this project as well as potential methods for work as well as what mediums and works could be analysed or used as inspiration. My core questions for this project were also made more tangible as I wrote them down and decided on what exactly they would be and began thinking about how I could explore them.

After completing the experiments utilizing post it notes I created a mind map that would encapsulate many concepts and subjects that could be useful in future development and pre-production.

I then planned my research and how I would execute gathering useful data from outside sources as well as generating my own and to do this I wrote down a variety of techniques I could choose to use or not.

Methods of my research included:

User research:

Planning: I will define the objectives of the research such as getting answers or gaining clear and measurable metrics from my target audience.

Execution: I will conduct the research with the target audience while collecting data and recording responses.

Analysis: I will analyse the data collected, and identify trends or patterns in the responses then use the insights gathered to inform my next direction of Zombie God.

This method will help me through directly providing me with feedback from those who are to experience my game and as such will not only help me to better understand what I am developing but will also help me to streamline the process of getting this research in future when I use this method again.

Playtesting:

Planning: I will define my objectives for the research then using my target audience and questions. Identify the appropriate playtesting method (such as in-person or remote) and create a playtesting plan.

Execution: I will have players test the game and get them to provide feedback on their experience.

Analysis: I will Analyse the feedback collected and identify areas of the game that need improvement using the insights gathered to inform game design and development.

Analytics:

Planning: I will identify metrics that need to be tracked (such as playtime or perceived difficulty).

Execution: I will collect data on player behaviour and actions through player feedback and experience.

Analysis: I will analyse the data collected, and identify areas of the game that need improvement using the insights gathered to inform game design and development.

This method will provide guidance for concepts and subjects that I do not totally understand as being able to have objective values to measure reduces the amount of inconsistency and confusion within this project and future projects.

Market research:

Planning: I will define the objectives, target audience, and questions while Identifying the appropriate market research method (such as industry reports or competitive analysis) and create a research plan.

Execution: I will conduct the research using the appropriate method collecting data and recording responses.

Analysis: I will analyse the data collected, and identify trends or patterns in the responses. Then using the insights gathered in my market planning for audience appeal.

Researching using this method will help me understand how to appeal and sell Zombie God to those who would normally not understand or be interested in what it has to offer as well as offering guidance for future projects I work on and how they would be sold to a larger audience.

Expert evaluation:

Planning: I will identify the appropriate experts to evaluate the game and define clear objectives for research questions.

Execution: I will contact various experts with the hopes of getting feedback from them on their evaluation of Zombie God. These questions will provide insight on its mechanics, aesthetics, and user experience..

Analysis: I will analyse the feedback collected, and identify areas of the game that need improvement or change.

The evaluations and guidance given by experts is paramount to sustaining a level of progression in work as well as getting proper guidance on how and why certain techniques and methods work better than others.

Transcription of research texts:

The products and objectives I am looking to research are:
How do games create characters that players find relatable to both play as and interact with?
What are examples of games that have both playable and non-playable characters with unique personalities and identities?
Why do the aforementioned characters work so well?

I will find and read through resources both physical and digital to increase my understanding and knowledge of a subject then write about my findings.

I will reflect and analyse why and how these resources have helped me and how they apply to Zombie God.

Using these methods I was able to accomplish the following research:

Identity as a concept outside of games.

The foundation of someone's identity can often be attributed to the aspects of the life they lead and the people they interact with/are influenced by however someones individual personality and ability to question the world around them has also been observed to have an incredibly potent influence on perceived identity with a variety of personality types being created to categorise those who share similar traits. Individuals' identities are also informed by pieces of someone's experiences called “Domains” with Domains informing how someone's identity and personality are influenced by how they have experienced Education, Gender and Faith (generally, there can be more Domains than this but these are most common.) with each one of these Domains manifesting themselves within how someone may act or think regarding topics. Domains for lack of a better term are the prerequisites by which someone feels, experiences and learns from anything and as each Domain grows with experiences so too does the depth of an individual.

Identity is also further informed by someone's personal interests and areas of expertise within a given area of knowledge they perceive themselves as having a deep knowledge of as confidence in someone's ability to speak on a subject often informs how confident they are overall and as such people who perceive themselves as geniuses are often the first to assert themselves into conversations with other like minded individuals. The differences in personal interests and areas of knowledge also inform the different types of people that interact with any other given individual and this furthermore develops the depth of someone's identity as in any given subject or area of study different personalities and ways of thinking become more or less prevalent.

Citation:

Branje, S. Dynamics of identity development in adolescence

How do games communicate the specific identities of the characters within them?

For certain games they communicate this directly through dialogue directly from the player character and the other NPCs in the world such as in the Electronic Arts, Dead Space (2008 - 2023) series of games where Isaac Clarke directly speaks and reacts to the world around him. On the other end of the spectrum of communication there is The Indie Stone’s Project Zomboid (2013) that contains no meaningful dialogue at all with the most the player character says is when they are screaming when getting mauled to death. Yet The Indie Stone’s Project Zomboid (2013) has had a larger variety of stories and memorable experiences for many more players and why is this? The Indie Stone’s Project Zomboid (2013) has a lack of dialogue meaning that the player entirely must fill in the blanks of what’s happening and the identity of the character they control, players control this partially through cosmetics aka what their character wears? How does their character fight? And (arguably most important) what does their character specialise in? However the game also presents players with the opportunity to explore what the story of their character is through giving extremely customizable strengths and weaknesses that mechanically effect how the game is played; however it also largely informs what players value and what they are willing to risk their characters lives for.

Project Zomboid also contains a plethora of items that are non-essential to survival that also inform largely the identity of each players character with certain characters wearing only what is essential and is most effective against being bitten and scratched whereas other players will value fashion and personalization over protection and as such are running around in the apocalypse looking like Paul Blart from Mall Cop for their time alive. A game that runs the intermediary path between the communication to the player from the game between Dead Space and Project Zomboid would be FromSoftware Bloodborne (2015). FromSoftware Bloodborne (2015) allows for the player to customise themselves a fair amount from the start of the game however not as indepthly as Project Zomboids thorough strengths and weaknesses system.

(Examples of the different attires in Bloodborne above and examples of outfits in Project Zomboid below.)

FromSoftware’s Bloodborne (2015) also differs in how it presents itself and the choices available to the player as in Electronic Arts Dead Space (2008) a linear story is present and Project Zomboid lacks any story whatsoever instead entrusting the player to fill that area in and Bloodborne again finds a middle ground. Bloodborne has a linear story however the story it tells can and will change depending on the choices the player makes in relation to how their character is dressed, where they go and when they go places and what NPCs they choose to interact with.

The best example of FromSoftware Bloodborne (2015) non-linear-linear storytelling is the little girl who needs your help to find her mother. The little girl's side quest is one that can be affected by a variety of things, however the most prevalent and obvious is the pig in the sewers that will kill her and end the entire side quest if not dealt with before speaking to her and deciding to help her. Other side quests follow similar logic across the entire game as exemplified in side quests such as getting into Cainhurst Manor and interacting with the vileblood area of the game as well as Eileen the Crow who is the hunter of hunters eventually hunting you for losing yourself to the hunt if you don’t do her side quest correctly.

FromSoftware Bloodborne (2015), unlike more linear games that have a set path for players to follow, encourages players to explore its world and characters at their own pace. This is achieved through various methods such as hidden areas, optional bosses, and side quests like the one involving Father Gascoigne's daughter.

The quest to help Father Gascoigne's daughter is a great example of how FromSoftware Bloodborne (2015) uses non-linear storytelling to create an immersive and emotional experience. It begins with players encountering Father Gascoigne, a boss character early in the game. However, players can choose to explore a nearby area and discover a small girl crying for her father. By speaking to her and offering to help, players are given a new questline that involves finding items scattered throughout the game world and ultimately confronting a powerful enemy.

What makes this quest so fascinating is its optional nature, allowing players to engage with it at their own pace. Some players may stumble upon the girl by accident, while others may intentionally seek her out. This choice is crucial in allowing players to feel invested in the story and characters, rather than being forced down a predetermined path.

Furthermore, the non-linear nature of the quest means that players can find the required items in any order they choose and can even miss some entirely if they aren't thorough in their exploration. This creates a sense of freedom and discovery, as players slowly unravel the tragic story of Father Gascoigne and his family. They discover that he was once a respected member of the community but became obsessed with the hunt and lost himself to madness. His wife and child were left behind, and the daughter's search for her father becomes a powerful emotional thread throughout the game that could only be as memorable as it is due to the optional nature of the quest and the choices involved in the outcome of the quest.

Communication of character identity can greatly impact the player's experience. It can take various forms, ranging from direct dialogue and reactions to a lack of dialogue that requires players to fill in the gaps.

The Indie Stone’s Project Zomboid (2013) is an example of a game that allows for a high degree of customization through character traits. Players can select strengths and weaknesses that shape their character's abilities, such as farming or carpentry skills, as well as more abstract and personal traits like being agoraphobic or being a “Sunday Driver”. These choices create a unique character identity that the player can embody or overcome throughout the game.

On the other hand, FromSoftware Bloodborne (2015) offers a more balanced approach, blending a linear story with player choice affecting the outcome. The player's choices and actions in the game impact the world and ultimately determine the game's ending. In addition, the player's choices also shape their character's identity, including attire, weapons, and values in the game world. For example, players can choose to wear a particular outfit or wield a specific weapon, which can reflect their character's personality and values.

The communication of character identity in games is a complex and multifaceted process that can have a significant impact on the player's immersion in the game world. It involves not only the choices and actions of the player but also the dialogue and reactions of NPCs and the game world's design. The player's identity can be shaped through their interactions with the game world, such as completing quests, exploring the environment, and interacting with other characters.

Ultimately the communication of character identity is an essential aspect of games that offers players unique opportunities to create and embody their characters. Games like The Indie Stone’s Project Zomboid (2013) and FromSoftware Bloodborne (2015) showcase different approaches to this process, offering high customization through character traits or a blend of a linear story and player choice affecting the outcome. Ultimately, games would not be as effective without considering these aspects, as they greatly impact the player's immersion and investment in the game world and a clear understanding of push and pull must be employed.

Why is the audio design surrounding a character important for communicating who they are?

In many games, characters are often given a certain sound that denotes who it is, this sound can be anything from a plucked string to an object broken but the most obvious example of this is found in Undertale where each character has a “voice” so to say which is a small collection of musical notes very close together in how they sound. This method of character audio identification is effective in the same way a person having a unique voice differentiates them from others; however other games identify their characters more by the music that plays when in their presence. The most obvious example of a character having presence music would be boss fight themes with Fromsoftware games being known for not just their boss fights but also the music that plays during those boss fights. The boss fight music in From Software games are so telling of a given character's identity and story that musicians have been able to figure out what a character's story is just by listening to the music.

But how these musical tracks do this is very interesting. The first thing to note is that in FromSoftware Bloodborne (2015) it is very common to give a character a solo instrument or a single sound in their song that represents them in a way, for Ludwig the Accursed/Holy Blade it is this lonely cello that carefully and almost sadly makes its presence known at the begging of the song before dying down and becoming less prevalent until it has to fill moments of what would be quiet across the rest of the song with its presence being much more exaggerated in the mind of the listener because of the lack of other instruments that would/should accompany it.

https://drive.google.com/file/d/1RNTHdlODWrld6faueRCsb_eCK6KKctOR/view?usp=share_link
(Link to Ludwig boss music.)

Lady Maria of The Astral Clock Tower also has something similar to this however as opposed to having an instrument Maria instead has the ticking of a clock as is representative of the location of the fight but the ticking also has unique ties to other pop culture that gives it a new level of representation in its meaning. The ticking can be tied to a predator hunting its prey as the sound is very reminiscent of the theme of the predator from Jaws which represents impending doom and the lurking of a hunter just out of sight. Maria also reinforces the idea of being a hunter in her design as she mimics the player character in their appearance with the player being someone who is referred to as a hunter across the entire game.

https://drive.google.com/file/d/1x5Ep-l1Ucs2Dbsy4iySlMg6bK7I9nB7Y/view?usp=share_link

(Link to Maria boss music.)

Finally sound effects are also extremely informative of the identity presented in video game characters such as the Clickers in Naughty Dog's FromSoftware The Last of Us (2013). The sound effect is their name and is what they are because they click all the time. Clickers are a very obvious example of sound communicating identity however a much more subtle example would be footsteps. Footsteps are much more important to communicating a lot of information to the player in a game and to explain this properly I will use the example of a single game. Behaviour Interactives Dead by Daylight (2016) is an asymmetrical 1 v 4 game that pits 4 survivors against a single killer simply in its premise, Behaviour Interactives Dead by Daylight (2016) however over the years it has been out has released a multitude of killers (31 killers as of writing this) creating a lot of information for survivors to learn. Footsteps play a key role in revealing what killer is present in any given game as the difference between hearing heavy metal armoured boots tells survivors that the Knight is the killer they are fighting whereas hearing the sounds of bare feet may be telling of the Huntress. Killers however are the ones who get the most value out of footsteps as audio cues for hidden survivors are incredibly valuable if they’re capitalised upon, footsteps are so valuable for killers that the killer called the Spirit has her entire ability based around using sound cues effectively as when she activates it all survivors become invisible.

What do games have to do with identity?

The concept of identity has long been a recurring theme in literature, but it is also explored in other forms of media such as video games. Like literature, video games allow players to immerse themselves in complex narratives and explore the complexities of the human experience and identity.

One example of how video games explore the theme of identity is in Irrational Games Bioshock (2007). The game is set in the underwater city of Rapture, where the player takes on the role of Jack, a survivor of a plane crash who finds himself trapped in the city. As the game progresses, the player uncovers the secrets of Rapture and the true nature of their own identity. Through the game's story and mechanics, players are invited to question their own sense of identity and the role of choice in shaping it.

Bioshock expands on this by having the player's actions not just be a means to an end, but an essential part of the game's narrative and themes. The game uses mechanics such as choice and consequence to inform the player's identity within the world of Rapture. All the choices and consequences the player is given however do not matter as revealed in the ending of the game with the confrontation of Andrew Ryan. The player is faced with moral dilemmas and difficult decisions none of which have lasting consequences throughout the game. These choices only affect the player's own narrative and not the fate of the city and its inhabitants which though subtly done shows how futile the players agency is.

The game's mechanics force the player to reflect on their own values and beliefs, ultimately shaping their sense of identity within the game world and the real world only for the ending to be a slap in the face to everything that built up and in many ways reflects the colder and harsher aspects of reality and capitalism. To exacerbate this point, the game presents audio diaries scattered throughout Rapture as a form of collectible, offering a glimpse into the lives and motivations of its inhabitants. By listening to these recordings, the player gains insight into the complex and often tragic histories of the people who once called Rapture home. This adds a layer of depth to the game's world-building and allows players to connect with the characters on a personal level. As the player navigates the world of Rapture, they are forced to confront their own biases and assumptions, further informing their sense of identity.

Overall, "Bioshock" demonstrates how video games can offer a unique and immersive experience for exploring the theme of identity. By incorporating mechanics such as choice and consequence, and offering a richly detailed world filled with complex characters, the game forces players to reflect on their own values and beliefs. As players navigate the world of Rapture and make difficult decisions, they are forced to confront their own sense of identity and the role of choice in shaping it.

Another example of how video games explore the theme of identity is in CD Projekt Red's The Witcher 3: Wild Hunt. The game follows the adventures of Geralt of Rivia, a witcher who is tasked with hunting down monsters and other supernatural beings. Throughout the game, Geralt grapples with his own identity and the prejudices of the people around him, who see witchers as inhuman and dangerous. Through Geralt's interactions with the game's characters and the choices that the player makes, the game explores themes related to identity, including the nature of prejudice, the role of choice in shaping one's sense of self, and the importance of empathy and understanding.

Expanding on this The Witcher has game mechanics that are seamlessly integrated into the exploration of the theme of identity. Players have the freedom to make choices throughout the game that affect the story and the development of Geralt's character. These choices are not simply binary decisions that affect the plot, but rather nuanced and complex moral dilemmas that reflect the game's exploration of identity and unlike Bioshock these choices actually find purchase in permanence within the world of the game.

One example of this is the game's "witcher sense" mechanic, which allows Geralt to perceive hidden objects, clues, and monsters. This mechanic not only serves the gameplay purpose of finding hidden items, but also represents Geralt's unique identity as a witcher. It highlights his supernatural abilities and the social stigma that comes with being a witcher. The mechanic also emphasises the role of perception and empathy in understanding other characters, as players use it to detect subtle cues in conversations that reveal the motivations and emotions of NPCs.

Another example is the game's complex dialogue system. The dialogue options reflect Geralt's personality and worldview, which players can shape over the course of the game. This system encourages players to think about the role of communication in shaping identity, as well as the importance of empathy and understanding in building relationships.

Overall, The Witcher is an excellent example of how video games can explore the theme of identity through its mechanics. The game mechanics serve not only the gameplay but also the narrative, reinforcing the themes and messages of the game while providing players with a rich and immersive experience.

Video games offer a unique medium through which to explore the theme of identity. As interactive experiences, video games invite players to engage with and reflect on their own sense of self, and to explore the complexities of identity in a dynamic and immersive way. Through exploring characters who question their own sense of self and grapple with the complexities of their own identities, video games can offer players a deeper understanding of the universal human experience. As such, video games have the potential to offer valuable insights into the role of identity in shaping our lives and the world around us.

Pre Production and Design Production.

I started my pre-production with a series of moodboards to inform my future sketches, ideas and mindset.

These images of gothic architecture were used in reference to the various buildings and structures across Zombie God. I felt these images were appropriate as they were varied enough to provide a wide potential colour palettes and moods as well as being specific in each different area of a building or area.

The images of rural areas were used in my inspiration when creating some of the areas the player will explore in Zombie God. I felt these images were appropriate as they were varied enough to provide a wide potential colour palettes.

These designs of armour and clothing will be excellent starting points for the humanoid characters across Zombie God. These images also provide a wide range of different inspiration in regards to different cultures and time periods.

These images of monsters will do me well when designing the visuals for the various bosses across Zombie God as even the more humanoid ones may benefit from certain aesthetic choices found across these designs.

After making these moodboards I decided to do some sketches of the players character to get a better understanding of a few aspects of the game such as. How similar should the design of the player be to the rest of the characters? How armoured is the character? What culture should they take inspiration from?

After sketching the player I decided to draw up a potential move set for them and the other bosses in Zombie God.

Finally I wrote up a world and basic 5 act story idea for Zombie God.

Zombie God will be divided into 5 acts across the game with the events of the story and will have strict rules placed onto the world it takes place in.

Key characters:

The player character.

The necromancer who resurrects the player character.

Another undead character who has no agency and hates being alive again.

A great war hero who fell in battle who befriended a dragon. The hero and their grave represent the past and what should be forgotten.

The dragon that was befriended and guards the grave of the war hero using his sword. The dragon represents the past and that should be remembered and learnt from. A foil to the other undead character besides the player character.

A rebel looking for peace through violence. This character is a foil for the other undead character. Armed with a spear.

A vicar of a church centred around healing who is a foil to the necromancer.

Villagers consisting of. A lumberjack, a hunter, a tavern owner and a baker. These characters provide a look into everyday life and comment on how the player character looks like a corpse at the start of the game but progressively looks more and more alive as the game goes on.

What each character represents.

The player character: Identity and the ability to choose for yourself. Being special without a prophecy and defying what was set for you.

The necromancer: Fate and control over others. No one is special and in the face of logic and reasoning people are only equal in death which they control. Ego and the god complex someone in a position of power can develop when unchallenged.

The other undead: Acceptance of terrible situations. Though they never consented to be brought back into the world after their death they know there is nothing to be done and so accept that they will lead an unfulfilling existence.

The dead war hero: The future and how even the greatest can and will eventually fall from grace. When the smoke and dust of war settle and the battle is won, who is left to celebrate? Why celebrate such a tragedy at all? What can we learn from what has been? The grave of the hero should provoke more questions than answers and serves to challenge the player's character. There should be a shield on the grave.

The dragon: The past and how holding onto the past drags us down. A great beast anchored by a tragedy they cannot leave in the past. Representative of squandered potential in a majestic and powerful beast because of unavoidable tragedy and the value others hold even after their passing.

The rebel: The present and what someone can do while they are alive and what choices they can make. Acts as a foil to the other undead character the player interacts with as someone who is striving for changes and is looking to carve their future into their own image. Opposite of the other undead character and should be someone who is never without the hope or the will to change the world.

The Vicar: Representative of those who use their beliefs to justify harm. Believes that no one is more powerful than their deity and the mere inclination of such would be heresy of the highest degree. Doesn’t believe in killing the player’s character and instead offers them the idea of choosing whether to fight them. All in all should be the opposite of the Necromancer.

The Lumberjack: Values physical strength as represents the attitude to work and improve.

The Hunter: Values cunning and will act as an inverse to the lumberjack representing the automation of work and the apathy of dispassion.

The Baker: Values others and represents the will to be kind unto others. Will represent the life of a humble worker and someone who is satisfied with life.

The Tavern Owner: Values selfishness and the gaining of power and wealth. Represents the inverse of the Baker as someone who has ambition even if malicious methods must be used.

The World.

The past is represented by a sword, the future is represented by a shield and the present is represented by a spear.

Magic isn’t common.

Magic is divided into 3 distinct categories. Life, War and Art. Life magic relates to the cycle of decay and the reversal of it and in other fantasy worlds would be healing/necromancy magic. War magic is destructive and can vary from empowering weapons and armour to causing explosions of elemental energy. Art magic deals with illusions and trickery being the most traditionally harmless.

The different forms of magic are often mixed together such as Life and Art magic being used in conjunction to create impossible living beings or War and Art magic being combined to allow knights to create illusory copies of themselves or moves they would do.

The world has been locked in a terrible war for many years and giant mass mausoleums have been made to accommodate the corpses.

Life magic being used to raise the dead is frowned upon and outlawed however there are those who do it illegally for certain nations to maintain manpower.

Dead raised by magic always remember their past, their death and never wish to be risen.

Dead raised by magic always have unconditional loyalty to those they are raised by.

Someone who raises dead can always dispel the magic used to create an undead.

Certain creatures have innate magic that can be tremendously powerful such as dragons or unicorns however these magics still fall under the aforementioned categories of magic.

Objects that are enchanted lose their enchants very fast and no enchantment is permanent unless through some form of legendary magic or prophecy.

Act 1.

Player character awakens in one of the giant mausoleums still in the armour/clothing they were wearing when they died however not knowing anything at all. Stumbling around the mausoleum the player can see some other corpses twitching and can hear some moaning but no others arise from the dead. The player can eventually find the door out of the mausoleum and awaiting outside is the Necromancer and their undead assistant, the Necromancer asks to see the potential of the player character and throws them a rusty broadsword and a dusty crossbow.

The player character will be given a tutorial “boss” fight against the undead assistant where at the end they can choose to kill them or spare them (this choice won’t have any mechanical changes to the rest of the game but will determine whether the undead assistant is in future scenes.) either choice will lead to the Necromancer saying how they need the player character to retrieve items for them to complete a spell and where to find such things.

The items the player needs to collect for the Necromancer are a sword at the site of a grave (the War Hero), A shield that is currently being held by the Vicar in the healing church nearby and a Spear being used by a revolutionary in the town.

Act 2.

The grave site the sword can be found at is in a nearby forest glade where the player can encounter the Lumberjack who speaks of his father resting in the forest who was once a great hero in the war and how he is inspired everyday by his great sacrifice. The Lumberjack will also warn the player of a terrible beast that is said to guard the sword of the grave however he has never encountered such a thing.

Act 3.

The shield will be found in the centre of the city in a small church where the player can engage with the Vicar in a lot of conversation before they can choose to fight the Vicar or leave without the shield as it is considered a holy relic of times long past.

Act 4.

The spear will be found in a secret room in the tavern, entering the secret room the player will find the rebel. The rebel will tell the player about how they intend to kill the necromancer who raised the player from the dead and now that they’ve told the minion of them they must kill the player.

Act 5.

The player returns to the Necromancer with all 3 items and is then told what they will be used for [insert evil stuff here that has more thought behind it] and as the player and the necromancer re-enter the mausoleum from the start of the game the player is given a choice. Let the Necromancer go through with their plan or fight them to stop it.

Production.

After completing my pre-production and research I began building and programming the actual game of Zombie God starting with the bosses the player would actually interact with and fight

This videos shows the final combined move set of the dragon boss in Zombie God.

This videos shows the final combined move set of the vicar boss in Zombie God.

This videos shows the final combined move set of the rebel boss in Zombie God.

This video shows the world navigation, tutorial and beginnings dialogue in Zombie God.

Reflection:

To start with, Zombie God was created with storytelling at the forefront and was meant to mainly be an exploration of the foundation of identity, the factors that go into the foundation of an identity and how someone's identity expands with experience.

Across the development of Zombie God I researched how identity links to games, Identity as a concept outside of games and Why audio can inform a lot of the identity of a character. Each of these different areas either focused on real scientific research articles or used analysis and comparison within games either to gain new insights into certain subjects of knowledge or to reinforce what was already known or discovered by the other points of research.

For Zombie God the biggest points of planning I had were research and idea development, worldbuilding/story writing, developing and programming the game and playtesting/feedback gathering. The research and idea development were incredibly influential to Zombie God overall as through research I found myself being able to properly pin down ideas that I wanted to expand on as well as doing away with ideas that were less important that were only bringing the progress of the project down. While the worldbuilding element of Zombie God was fine the writing aspect of Zombie God was definitely underdeveloped as the first draft of the story with all of its obvious flaws and even more obvious lack of proper time given to it being something that definitely requires development, the first draft of Zombie Gods story also suffers because it feels as though it takes on none of the aspects of the research put into it.

The first draft of Zombie Gods story also feels as though it cannot properly express the message it is trying to communicate as there are too many things happening with each of the characters and none really get time to have their message and themes expressed in any meaningful way.

Overall developing and programming Zombie God went amazingly well as there are unique boss encounters that are found in different areas and each one has a different style of attacking the player keeping the player constantly guessing as to their next move. The major flaw in Zombie God's development process was my list of priorities in development as I started first with developing the bosses the player would fight rather than making an immersive world that the player would navigate. This fundamental misunderstanding early on caused Zombie God's development to be lopsided in favour of being a boss fighter rather than being story driven.

Playtesting throughout Zombie God's development was one of the aspects that held true promise. Every so often when I added features to the game or a new boss or a new attack to a boss I would get one of the people near me to test it and make sure that it felt good to play against and if enough changes had been made then having them fill out the earlier mentioned form for QA testing.

My methods of research were extremely effective and my planning for my research was clear and concise with very little room for misinterpretation or mistake. I do feel that my research ended up being limited in its scope and reach with the subjects that it tackled and as such Zombie God as a game suffered from the lack of breadth in its information. My research ended up being limited in its scope because the methods I planned to use and the methods I actually employed had a great difference in number and as such my many plans became two methods of research that I actually used.

Zombie God tackled a lot of theoretical issues with its focus fundamentally being on something that is unable to be quantified. Identity, despite being something being widely tackled in a variety of games, presented me with a variety of issues when tackling how to communicate it and tell a story based around it. To help remedy my lack of understanding of the subject in many regards I did a lot of research into the subject and used examples of both scientific and non-scientific sources. Another theoretical issue I ran into was giving the player choices that they would feel mattered as what matters to different players will be different for each player.

To create choices that would matter universally for the majority of players I looked into the some examples of storytelling in games that do such a thing well such as Irrational Games Bioshock (2007) which oxymoronically had it so that the final reveal of the game is how worthless all the choices the player had made across the game actually were. I also had to tackle the challenge of what makes games challenging as Zombie God was always intended to be a difficult game however I didn’t want to deter players with the learning curve that comes with the game initially. To understand the way players perceive challenges I spoke to many of the players who play tested Zombie God across its development as they would be the best at describing what made the game challenging and what felt like something that was out of their control.

The first practical issue I had to solve with Zombie God was very similar to the theoretical issue of difficulty as in many regards the difficulty of the game had to be experienced in practice and so to help with this issue of difficulty I not only learnt from the feedback of players but I also designed a lot of the attacks of the bosses early in order to have a clear idea of what I wanted each boss to be able to do and what themes each of them would have with their attacks.

As a project this has been an incredible success as my understanding of subjects that I have long held interest in has increased tenfold and the work I’ve put into the product of this project has been incredibly fulfilling as in spite of whether I feel that my prerequisites for completing this project have been met.

The clearest game to compare Zombie God to would be Supergiant Games Hades (2018) as they share similar fundamental aspects such as camera angle/placement, narrative focus and spikes in difficulty. While they share fundamental similarities Zombie God and Supergiant Games Hades (2018) are games that in practice are so different that it feels almost wrong to compare them. While Supergiant Games Hades (2018) has a camera very similar to Zombie Gods it is at an angle and follows the player swaying back and forth as the player dashes around the level, Zombie Gods camera exists in a single place and remains unmoving making it feel grounded and more objective in its portrayal of information for the player where the camera in Supergiant Games Hades (2018) feels as though a cameraman was trying to get the best angle of a cinematic fight scene. The games also differ in their structure, while Zombie God promotes exploration and navigation of the world it presents Supergiant Games Hades (2018) is level based and while levels need to be explored to progress the majority of levels the player will go through are not replayable nor do they have any deeper meaning to the story as a whole. Finally the games differ in their approach to storytelling while Supergiant Games Hades (2018) is very direct about the story it is telling. Zombie God instead seeks to leave clues as to the bigger picture of what’s happening and trusts that the player will piece everything together.

Zombie God and Supergiant Games Hades (2018) may be similar in their approaches to mechanical inputs such as the players perspective and how they interact with the world around them the way each uses their given tools is so different that they almost become unrecognisable from each other. This is good as when developing a game it is important to understand where ideas have been done before however it is even more important to know how to change the status quo and deliver an experience to players of games of similar genres that is nothing like what they have grown accustomed to.

The potential of narratives in games has recently been realised in the industry with giant overarching narratives across games becoming increasingly popular such as the Sony Interactive Entertainment God of War Series (2010 - 2022) and while this area of the industry begins to bloom more people going into the industry regardless of position or role on any given team needs to understand the story and narrative being told within the game they are working on to realise fully what is being developed. Furthermore Zombie God acts as my first insight and experience within the world of the industry, having to schedule time to put the work into planning and researching let alone programming has been deeply informative to what my future within this industry may hold and has opened my eyes really to what it takes to be someone within the industry. This project has also taught me the importance of understanding capabilities and reckoning with what needs to be done to ensure success.

No part of this project wasn’t exciting or engaging. At all times I knew I had something to do, how to do it and when it needed to be done. While my priorities may have been misconstrued in areas overall that clear understanding as well as the freedom I had over this project I take as an absolute blessing in spite of the stress it’s caused me. If I were to pick a part of the project I particularly felt I enjoyed and connected with it would have to be the designing of the world and story. Despite only being the first draft and feeling rushed had I had more time to devote to it and had my priorities been better I would’ve loved to have had worked on it more, the mere idea of getting to build and expand on a world of my own creation that others could then play in was beyond exciting especially because it was in a medium where worldbuilding is not usually what I engage in.

Across this project I have been presented with opportunities upon opportunities for reflection and deepening understanding of what it means to be someone within this industry. Zombie God has taught me to be more resilient in the face of adversity as well as understanding that even if you put your heart and soul into something you may not like how it ends up coming together. Practically Zombie God has taught me to stick much more closely to my original intentions for my projects and to not be sidetracked by what can come later.

Final version of game made during this project download here:

https://drive.google.com/file/d/1Bk4DkfQmEhkMdlIWxPP-UdpPlXvRaukU/view?usp=sharing

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