Project 1 - Task 9 - Critical Perspectives in Dystopian Game Design

Alys

Alright, so let's dive into this idea of critical perspectives in dystopian game design. I mean, this is the stuff that can make or break a game’s story, right? Like, it’s not just about throwing players into some gloomy world and saying, "Survive!" It’s about what that world is saying to them.

Rhys

Exactly. A good dystopian game isn’t just set dressing; it’s a reflection of, well, us—our societies, our issues, our struggles. It’s like holding up a mirror, yeah? And the more critical perspectives you weave into the narrative, the more players can start, you know, seeing life through a different lens.

Alys

Totally. Like, think about games like, um, Bioshock Infinite, where you’ve got this really clever critique of nationalism and, you know, racism tucked into this vibrant floating city. It’s... it’s mesmerising, but it’s also unsettling, right?

Rhys

Right. And then there are games like Papers, Please. It’s a simple mechanic—checking documents—but, it puts you in this moral grey area, you know, under this oppressive regime. There’s no clear "right" path. That tension, that—

Alys

That weight you feel!

Rhys

Exactly. That’s the power of integrating critical perspectives. It turns what could be a, well, basic task into this socially charged dilemma. You’re not just playing; you’re participating in this larger commentary.

Alys

And that’s why it’s so key to pick perspectives that resonate with you as a designer. Like, for me, I’m all about themes that tackle big social questions. Stuff like inequality or environmental collapse—it just feels more... real? And then players feel like they’re actually, I dunno, part of something that matters, you know?

Rhys

I think you’re spot on. When the themes come from a place that’s personally meaningful, it shows. It feels authentic, and that, in turn, connects more deeply with players. But—and this is important—it’s gotta be subtle. Players don’t want to feel like they’re being, you know, lectured at, yeah?

Alys

Oh, for sure. Nobody wants a game that’s just, like, one long TED Talk. But when the storytelling’s good—when the world and the narrative reflect those critical ideas without shouting them—it’s magic. It's like, you're telling a story that speaks to people on so many levels.

Rhys

Right, and meaningful storytelling isn’t just about what you say but how you say it. The world-building, the mechanics, even the art design... everything can feed into that perspective. It’s all part of creating a cohesive, engaging experience where players feel the impact without it being heavy-handed.

Alys

And you know, speaking of storytelling, characters are such a huge part of making that impact resonate, right? Like, if your game’s characters don’t feel real or like they’re truly part of this dystopian world, everything else can start to crumble around them.

Rhys

Absolutely. Authenticity is everything. A character's motivations, their flaws, their choices—those are what pull players in. It’s not just about making them likeable, though. It’s about making them relatable, even when they’re, well, making questionable decisions.

Alys

Totally. I love it when a protagonist isn’t some perfect hero but is kind of messy, you know? Like, they’re struggling, they’re torn. It makes everything feel so much more... raw. And then you, as the player, you’re kinda rooting for them and questioning them at the same time.

Rhys

Exactly. Games like The Last of Us do a brilliant job of that. Joel, for instance—he’s got such a complex backstory. You understand the choices he makes, but you might not agree with them. That tension, it sparks genuine emotion.

Alys

Yes! And it’s not just about the protagonists, either. Like, the side characters, the NPCs—they can carry so much weight when they’re written well. They can reflect the themes of the game in ways that feel subtle but powerful. Like, even a shopkeeper or a random villager can add depth.

Rhys

And that kind of depth doesn’t come from just writing dialogue for the sake of it. It’s about thinking through who these characters are, where they’ve come from, and what’s driving them in this world. Which, speaking of the world—

Alys

Let’s talk about world-building!

Rhys

Right. The world a character inhabits is just as important as the character themselves. In a dystopian setting, you can’t just throw in some crumbling buildings and call it a day. Every detail—the environment, the culture, the power structures—it all has to reflect the broader themes you’re tackling.

Alys

Yeah, and like, how the world interacts with the player. Is it hostile? Indifferent? Does it feel alive, like it has a history, a future? Oh, and I love when games use environmental storytelling for this. You know, no big exposition dumps; you just explore, and the world unfolds naturally.

Rhys

Exactly. It’s why games like Horizon Zero Dawn resonate so well. The ruins, the remnants of an old world—they hint at so much without spelling it all out. It’s like an invitation to piece things together yourself. And, of course, you’ve got to think about how players interact with that world.

Alys

Oh, gameplay mechanics! We’ll totally get to that. But you’re right—everything about the world has to reinforce the story. Whether it’s themes of oppression or survival or even hope. When it all clicks together, it’s, like, unforgettable.

Alys

Right, so we’ve talked about how characters and world-building are interconnected, but I think gameplay mechanics are just as crucial. They’re kind of the glue that makes everything feel cohesive, don’t you think?

Rhys

Absolutely. Gameplay mechanics are where the themes of your game stop being abstract and start becoming... well, tangible. It’s like, you’re not just watching the story unfold, you’re, you know, participating in it. That kind of design can be so powerful.

Alys

Exactly! And it’s not just about flashy mechanics. Like, take Papers, Please again. It’s literally stamping papers, but it puts you in this moral grey area that’s just... chilling. Simple, but so effective.

Rhys

Right. And that’s the beauty of clever design—it doesn’t have to be complex to be meaningful. Look at something like This War of Mine. The mechanics make you balance survival choices in a way that drives home the emotional toll of conflict. It’s raw, and it’s eye-opening.

Alys

Oh, absolutely. And that emotional hit? It’s not something you forget. But let’s be real, sometimes it’s easier said than done, which is where tools like Milanote come into play. Like, how amazing is it for, you know, mapping all this stuff out?

Rhys

Yeah, Milanote. I’ve used it myself for game design projects. It’s brilliant for visualising everything—your themes, your mechanics, your world-building—and making sure they’re all, you know, connected. You can lay it all out and just, well, see how the pieces fit.

Alys

And tweak them!

Rhys

Exactly. If something feels disjointed, you’ve got a clear view of where and how to adjust it. For integrating critical perspectives, that’s invaluable. You can ensure the gameplay isn’t just fun—it’s meaningful and reinforces your themes.

Alys

And let’s not forget the players, right? When those mechanics tie back into the story or the world, the players feel, like, so much more invested. It’s like they’re a part of it, dealing with the same struggles as the characters—

Rhys

Or questioning their choices.

Alys

Yes! And isn’t that the dream for any designer? To make players feel something, to make them think, and maybe even come away from the game seeing the world a little differently. It’s all about impact, yeah?

Rhys

Absolutely. And on that note, I think this is the takeaway: it’s not just about the parts themselves—mechanics, world, characters—it’s about how they all work together to tell a story, one that resonates and stays with players long after the credits roll.

Alys

Couldn’t agree more. And that’s what makes this whole process—integrating critical perspectives, shaping stories, designing systems—it’s what makes game design so exciting. It’s a challenge, but, oh, is it worth it when it all comes together.

Rhys

Absolutely. Well, thanks for tuning in everyone. Hopefully, this has sparked some ideas for your own designs. And, who knows, maybe your next game will be the one to, you know, start some important conversations.

Alys

Totally! And on that note, we’ll catch you next time. Thanks for listening!