CARTOMANCY: The Magician

Trust that your magic will return.

STARWEAVE is a squad rpg that utilizes tactical gameplay and allegorical narrative design to the end of encouraging players to exercise compassion when a cast of hurting teens lash out and even revolt against the player’s very tactical commands in a dire and oppressive situation. Why must we follow our destiny? Why must we play the roles lain out before us?

Genre: Tactics, RPG, Narrative
Platform: PC & Mac, single-player
Engine: Unity

Team: 60+ members; 10 teams.
Duration: March 2022 - May 2023

Roles & Contributions

Creative Director: leading 60+ developers across 10 teams, conducting meetings, people management, cross-functional communication, visual direction, audio direction, world bible.
Game Designer: tactical gameplay, narrative design, ludonarrative, emotional game loop, technical document writing, prototyping, scripting.
Game Artist, UI/UX: character designs, UI wireframes

 

 

My thought process — Systems in service of story.

  • Design Goal: mentalization. understanding that other characters have their own motivations, personalities, and beliefs—and working with them.

  • Core Loop: engage in tactical rpg combat, encounter teammates refusing commands, investigate motives, accommodate teammates in combat.

  • Characters: explicit dialogue and subtle behaviors work in tandem, their struggles are revealed through gameplay, then corroborated textually.

  • Narrative Design: mirrors the core loop as an arc. builds up the player’s relationship with compassion on a micro and then a macro scale.

STARWEAVE is a game about understanding the intricacies and nuances of disparate pained individuals, so it was my guiding intention to center everything around its characters. The pain presented is rooted in real world struggles: gender roles, racial stereotypes, discrimination, but the game discusses this matter and pushes its intent that ‘compassion is good’ through the approachability of fiction: understanding that centering a player’s emotional experience and intellectual agency is more effective than a preaching stance.

So the theming is done through layered metaphor. The characters: Dreamer, Troubadour, Blackguard, Lighthouse, and non-player Bird, each emblematize a different flawed coping mechanism when forced into a role. On top of being given stringent titles, the teens are thrust into a cyclical quest, one where they must box themselves into their set purposes to succeed and uphold the world as they know it. Thus, the youth must maintain the status quo.

Dreamer, the player, is designated party leader. The player—who we know arrives to the game an ignorant party—commands the others in Combat according to their corresponding healer, rogue, and supporter designations: naturally forcing them into their roles. To incite challenge to this is the crux of the game: the refusal mechanic. The other characters can elect to not follow their commands. For example, Troubadour is a healer who does not feel confident in his role, but believing he can fake it ‘til he makes it, will force himself to keep going; if an ally has even the smallest paper cut, he will ignore you to go heal them. This expression of individualism sets up a mystery for the player: that’s not proper, why in the world are their teammates doing that?

This dovetails into the Freetalk system, wherein the player chooses to spend a limited amount of time better connecting with a teammate. They reveal their personal beliefs and internal struggles, providing context to their reactive behavior during Combat. The mystery gains answers. Troubadour professes that he doesn’t want to let the others down, and the player can now understand how to accommodate this the next round of Combat.

The player now brings allies to Troubadour and allows him to heal from a safer spot without the pressure to push into danger. Accommodated for, Troubadour reciprocates the player’s compassion by meeting them in the middle: loosening up on his reactive behavior now that they’ve shown compassion. This feedback loop repeats as players also contest with the rest of their teammates, achieving the experience goal over and over again.

 
 
 

User interface efficacy.

In addition to mechanical game design and overall direction, I also devised the UI systems for the game. Conducting research under the guidance of Game Designer Richard Lemarchand, I audited 30 years of digital narrative games, analyzing why and how they visually represented dialogue.

This information was used to design the Combat and Freetalk screens in STARWEAVE. Combat features a small, impersonal textbox that treats the person talking as a faraway pawn upon a tactical board. By deliberate contrast, Freetalk, a social segment, uses larger speech bubbles with personal information and facial expressions, and thereby players closer relate to the characters.

I was invited to present my findings and applications at USC’s Annenberg Creative Research Symposium.


Lessons Learned.

What went well.
A clear vision, a solid development action plan, and a powerful message are what drew in such a large group of developers to this production. It’s not lost on me that the scale at which we’re able to produce this game came from a mix of clear, confident direction. institutional knowledge built up from my participation in prior productions, a little bit of heart.

On top of robust roadmaps, burndowns, and pipelines, a team of 60+ requires clear communication and conscientious attention towards the needs, temperaments, and personal goals of each member on the team. Building rapport with the team, coaching leads as needed, and incorporating team retrospectives has ensured that our team continues to stay healthy and improve our processes as we continue.

Areas of improvement.
Most games I create follow a similar process where the story and its themes are established first, followed by prototyping mechanical affordances that strongly express the experiential goals established by the ‘narrative’ (whether textually or thematically). This is a design practice of mine that works very well for lightweight games, but can be difficult to scale up when a system gains complexity: the raw mechanical consideration behind character stat spreads skills, the information design behind grid movement, the ‘fun’ factor of tactics, play second fiddle to the north star goal.

This is an age-old issue that will be tested in QA and improvements will be made to re-introduce enjoyment without taking the edge off the experience, but it is definitely something I would incorporate sooner as a design pillar the next time I make such a game.

Closing thoughts.
I have never made something at this scale and am excited to celebrate our successes, but most importantly learn from our failures and shortcomings to improve both myself and my design process for what next big thing comes down the line on my creative journey!