Project 1 - Task 2 - Designing Dystopian Worlds: Players, Mechanics, and Tools

Alys

So, when we look at dystopian games, right, it’s not just about bleak backdrops and creepy atmosphere. It's the way players emotionally connect—or disconnect. From the surveys, one thing really stood out to me: players love the moral dilemmas. I mean, like, they kind of thrive on them.

Rhys

Exactly. They want to feel conflicted, as if their choices actually matter in these intricate survival scenarios. What I found fascinating, though, was how much players seemed to favor cooperative gameplay. I wasn’t expecting that trend to show up as strongly as it did.

Alys

Right? It’s like people wanna share the pain—or maybe spread the blame when the choices go, uh, sideways. I loved one participant’s comment about wanting their decisions to shape the ending but, like, also wanting a friend to help carry the weight of it all.

Rhys

That aligns with what came up in the interviews, doesn’t it? This idea that, as much as people enjoy dark, solitary narratives, there’s this growing desire for multi-layered, player-driven storytelling. It’s all about balancing personal stakes with collective dynamics. One player mentioned, uh, what was it?—“making sure no one feels like survival is just their responsibility alone.”

Alys

Yes! And speaking of personal stakes, it so reminds me of *The Last of Us*. That moment, you know the one, where Joel has to decide if Ellie’s life outweighs humanity’s future? That’s like, the epitome of what players were describing in these surveys. It’s raw and, let’s be real, it’s agonizing—but it provides this super cathartic payoff, you know?

Rhys

Hmm, and what makes it stick is how it integrates player feedback, right? You’re not just watching Joel’s dilemma—you’re in it, questioning your own moral compass. And I think that’s why cooperative dynamics are capturing players’ attention more now. They want shared accountability and even different viewpoints influencing those pivotal moments.

Alys

Oh, totally. And it’s like, even in games lacking co-op, players still wanna see their choices ripple outward, like a domino effect. It’s this whole bigger-picture thing where their decisions leave a mark, long after the screen goes dark.

Alys

You know, it’s funny—thinking back to those moments where players talked about shared accountability, it really came through in the playtesting sessions. I kept noticing this pattern where they almost obsess over resource management. It’s like rationing supplies becomes another layer of tension, but what’s fascinating is how they navigate it together, balancing stress with strategy.

Rhys

True. And it’s fascinating how that tension seems to amplify immersion, isn’t it? One tester kept mentioning how they felt constantly on edge—like every decision had this ripple effect. That kind of pressure’s exactly what you need in a dystopian setting.

Alys

Oh! And stealth mechanics too. I mean, the way players almost tiptoe when avoiding patrols? It’s like they start physically mirroring what’s happening on screen. Kind of wild to watch.

Rhys

Yeah, that connection between mechanics and physical response is always intriguing. One thing I noticed during a design challenge with resource scarcity was how players developed these intricate strategies… but only after a few, uh, harrowing failures. It's like the game's ruthlessness forces them to learn and adapt.

Alys

And it’s so rewarding to see players click with those systems, right? Like, when they start recognizing patterns and then using them to beat the odds? Honestly, it’s some of the most satisfying playtesting feedback.

Rhys

Which ties into that trend we’ve been noticing on social media, doesn’t it? Emergent gameplay—it’s what everyone’s talking about. Games like *Frostpunk* are a prime example. Players invent new ways of interacting with the systems, ways even designers might not have anticipated.

Alys

Yes! And the discussions around it are just as inventive. Like, I saw this one thread where someone turned a bleak survival sim into their own, uh, utopian paradise. They were using the same mechanics everyone else struggles with, but completely reframing them. It’s just... so cool how creative players can get.

Rhys

That creativity stems from the flexibility of the systems, doesn’t it? As designers, we set boundaries, but within those, players find freedom. And I think that’s the magic of an adaptive dystopian game—it allows for individual expression inside a rigid, often oppressive framework.

Alys

And that balance—man, it’s tricky to pull off. Like, too much structure, and players feel railroaded. But too much freedom, and it’s chaos. Games like *Frostpunk* walk that tightrope so well. It’s definitely something more developers should explore.

Alys

We’ve been talking about all these intricate dynamics of gameplay and player creativity, and it really gets me thinking about how, as designers, we wrangle those ideas into something cohesive. That’s where having the right tools comes in. Like, Milanote? Seriously, a lifesaver for organizing all the research chaos.

Rhys

Oh, absolutely. It’s great for visualizing ideas, isn’t it? I find it especially useful when creating comparison charts or mapping out gameplay loops. It helps tie all these loose threads of research together.

Alys

Yes! And speaking of charts, can we talk about how satisfying it is to see trends pop out when you’re working with something like Google Sheets? All those stats from surveys and playtesting—seeing them, like, laid out and connected? So good.

Rhys

It’s incredibly useful for synthesis, isn’t it? I mean, taking quantitative data and pairing it with the more qualitative insights from interviews—it ensures nothing gets overlooked. And it’s not just about data—it’s about finding that narrative thread running through it all.

Alys

Exactly! Like, when you layer in secondary research—those papers on dystopian themes, or, you know, blog posts breaking down mechanics—it really rounds everything out. It’s the bridge between theory and execution.

Rhys

Right, and scholarly articles add so much depth, don’t they? They highlight the ethical and political dimensions of dystopias. Having that context influences everything—from deciding story beats to designing mechanics that, uh, reinforce those themes.

Alys

Totally! Like, making sure every choice fits the mood. Even little things, like the colors on a dialogue screen, or the sound of, I don’t know, static before a decision. That attention to detail can come directly from research.

Rhys

And tools like Milanote are perfect for piecing it all together, aren’t they? You can see how each finding contributes to the bigger picture. It’s the difference between a patchwork of ideas and, uh, an actual cohesive design.

Alys

Yeah, and like, let’s not forget how inspiring all those online resources can be, too. Game dev blogs, Gamasutra—they’re goldmines for ideas to, you know, refine a concept or even spark something totally new.

Rhys

They are. And when we combine them with our own primary research, it really shapes the experience. Tools and insights aren’t just background—they’re the foundation. Creating a dystopian game means weaving all of that into a meaningful, immersive world.

Alys

For sure. And honestly? It’s so cool seeing it all come to life. Alright, I think we’ve pretty much covered it.

Rhys

Yeah, we’ve gone from player emotions to mechanics to translating concepts into development. It’s been a great chat.

Alys

Agreed! And with that, it’s game over for today. See you next time!

Rhys

Bye for now.