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My process for "Starlight Express"

This project is the second of two ideas I had when I decided to pursue game design as a career. 

I found a group of extremely talented people online who agreed to help me learn Unity and anything else I might need to make games. In time, other people hoping to get their start in the industry joined our friend circle and at some point the words "Hey, why don't we just make Stef's game?" stumbled out of someone's mouth and before long, I was making design docs on PowerPoint.

People liked my idea for a silly little space game and now we're trying to put together a demo (the actual game I very naively laid out in those documents is far too ambitious for our little team to pull off by ourselves).

Below are examples and excerpts of what I've done in my role as Narrative/Systems/Gameplay Designer, Creative Director and Composer so far!

Characters

These are 3 of my favourite characters in the game. 

There are a total of 20 characters in the main cast, 8 "marriage candidates", in the tradition of Stardew Valley NPCs you can have relationships with but also like the crew members in Mass Effect that will play a part in the endgame scenario, and 12 faction characters (3 in each of the 4 factions).

I worked with Joaquim, the team's asset designer on the 2D pixelart sprites first as I thought they should stand out and be recognisable in that form before I commissioned Theo to create portraits based on them for the dialogue screens (dating sim style).

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BAR-8362 “Barry”

A lovable, fatherly, jolly Myorjiin who’s really sweet and loves the various foster children he’s raised throughout his life. He owns the station diner and does all the cooking himself despite having no taste buds. About 200 years old (like all myorjiin), aggressively friendly but can more than handle unruly customers.

Kmi Pakuru

Kmi owns the station bar. “Retired” pirate/smuggler. Don't mess with her.

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Yalyl "Yally" Blybly

"I’m Yalyl. I know some humans have trouble with Helicid names so you can call me Yally if you want!"

Narrative Design

In this section, I'll go through my entire narrative design process, from script writing to implementation!

First, I write the script with our writer Chris. We spend a lot of time trying to find a unique voice for each character, then we hop on a call together and have at it! We have developed our own system for denoting branching dialogue on Google Docs. Chris has a screenwriting background so that's our jumping off point.

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Next, I use graphic design apps like Canva or yEd to create the actual conversation trees. This way, if for some reason I am unable to do the implementation myself, there will be a handy map for anyone who needs it!

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After that comes implementation. For this project we use the "Dialogue System for Unity" plugin.

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Finally, we put it all together; the script, the UI and the character portraits and test it out!

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More Narrative Design

Or:
The Mechanics of Morality in our game
&
The Faction System

Below are some screenshots from the Google Sheets I created to explain the faction system and the core of the narrative design for the game. I was heavily inspired by Ken Levine's "Narrative Legos" GDC talk and this was me trying to make a smaller version of that. I had an easier time creating a  functional model of this system than I did wrapping a story and characters around it but hey, I had fun.

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Lore
&
Worldbuilding

For this project, I am attempting to build a coherent setting for Starlight Express. 

As with the gameplay styles I wanted to subvert things a little, having a more "hard sci-fi" setting like Mass Effect or Cowboy Bebop (around 7 Type II civilizations currently in the Milky Way galaxy, a workaround faster than light travel, settlements & colonies outside each system's Goldilocks zone needing terraforming etc..) with a more whimsical, comedic tone more akin to Hitchhikers Guide To The Galaxy and Space Dandy.

One of my favourite experiences working on Starlight Express has been coming up with this stuff, trying to have it make at least SOME amount of sense while I squeeze in a joke or two.

Below are some bits I've pulled from the "Lore Wiki" I've been putting together in Notion for the team (and for my own reference as I do tend to get carried away).

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"As humans evolved from primates, these guys evolved from snails in their homeworld. They are basically a more vertical and tall snail-like race, shells and all.

Helicid culture is dominated by trade. They have a reputation as traders and merchants. Due to the Helicids not being physically adept, they tend not to be violent, and can even seem overly pacifistic and cowardly to other, more militant species. The helicid homeworld is remarkable for having done away with warfare as an institution of the state, as the helicids lack the romantic view of war found in the galaxy's more aggressive species. They think aggression is pointless and everything can be worked out in a profitable deal.

From wikipedia:

'Gastropods are capable of being either male or female, or hermaphrodites, and this makes their reproduction system unique amongst many other invertebratesHermaphroditic gastropods possess both the egg and sperm gametes which gives them the opportunity to self-fertilize.

Within the main clade Heterobranchia, the informal group Opisthobranchia are simultaneous hermaphrodites (they have both sets of reproductive organs within one individual at the same time).'

As a result, the idea of parenthood and families is different than that of most species where many Helicids start off as “single parents” before joining with others to start a family and if often seen as a sign of pride, choosing to have a child before you find a mate is seen as a sign of independence, both financial and social, showing you have gathered enough wealth to provide for your offspring on your own without the help of your family or a mate. This is seen as the beginning of the second stage, or adulthood in Helicid culture.

In Helicid culture, an individual passes through 3 stages in life. After childhood and mandatory universal education, they enter the “Intern” stage, which is spent often, but not always, with the family unit, where they learn about their family’s trade by working with them in “internships”, with a trade of their choice, freelancing or travelling salesmen (salesnails?), their instinct driving them to yearn for and seek out experience.

The “Merchant” stage begins when an individual feels ready to seek out or make their own fortune. This is generally where a helicid will start a business, have a child, and start to look for potential mates, preferably with children of their own as agreeing to be part of a big family again demonstrates wealth and financial security. During this stage they begin to save money to help their parents enter the 3rd stage of helicid life: the Retiree stage.

This is where their offspring, if they have amassed enough wealth during the merchant stage, return home for a ceremony where they buy their parents' business, be it a large company, a small convenience store or their fishing boat, allowing them to retire and spend the rest of their remaining life in comfort and leisure. This is a moment of great pride for any Helicid parent.

Helicid names are generally written with the family or surname first, like Korean names.

Most cities on the Helicid home planet, the garden world of Huldra, originated as settlements atop massive migratory trees where resources were widely available so there was little conflict over them. Rather, early Helicid merchants who braved the wilds and traveled to other “tree villages” were seen as heroes, often returning with traded goods and stories of other tribes, many characters and heroic figures in early Helicid mythology adhering to this archetype.

It’s also this entrepreneurial spirit that propelled them to space exploration. The promise of precious alien ore and materials to sell and trade with other species greatly accelerated the Helicid space age."

Here are some screenshots from the "Planetary Geography" page of the document

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