Project 1 - Task 1 - Dystopian Worlds and Research in Game Design

Alys

So, I've been thinking about dystopian games, right? Why they’re so—what's the word—addictive. Like, players don’t just play them; they dive into them. It’s like... there’s this emotional pull.

Rhys

Absolutely. And it’s not just the thrill of survival or the bleakness of the world. It’s, well, I think it’s how dystopias make us, you know, question things. Systems, values, ourselves.

Alys

Right? It’s like they’re holding up this giant mirror and saying, “Hey, look at what happens when you ignore this or let that, you know, spiral out of control.” It’s kinda genius. Like "Bioshock." Oh, my days.

Rhys

Ah, "Bioshock." A masterpiece. And if you look at the design process, it wasn’t just about creating Rapture as a cool environment. Ken Levine and his team dove into Ayn Rand’s philosophies, dissected objectivism, and made sure that every element of the game reflected those ideas. That level of research brought depth to the game.

Alys

Exactly! And the plasmid system? It wasn't just fun, it was like a nod to how power can, you know, corrupt and twist people. Oh, and "Papers, Please"? Gah! Like, you’re literally a border control officer, making decisions that feel so—

Rhys

—weighted. Yeah. And Lucas Pope didn’t just wing it. He researched bureaucracy, studied post-Soviet states, even observed how mundane systems crush people’s spirits. That’s the thing, Alys. These games aren’t just dystopian because of the setting—they’re dystopian in every mechanic, every story choice.

Alys

That’s why they stick with us, right? They don’t, like, spoon-feed ideas. They make you... feel things. Think things. Like, properly question your choices in the game. I mean, I remember my first dystopian obsession—it wasn’t even a game, though. It was "1984." Total rabbit hole moment. What about you?

Rhys

"1984" is a classic for sure. For me, it was more "Blade Runner." That atmosphere, the moral ambiguity, the—

Alys

—the replicants! Oh my gosh. I I feel like that film basically shaped half of modern game dystopias. Not just the aesthetic, you know, but the questions.

Rhys

Exactly. It’s all about understanding those narratives, the layers. And when you start incorporating research—exploring real-world ideologies, studying player psychology—that’s when you create unforgettable experiences. These are lessons every designer should take to heart.

Alys

Right? Research isn’t just helpful. It’s the backbone. Without it, you’re, like, guessing. But with it, you’re crafting worlds that make people feel alive.

Alys

Exactly, Rhys! Research is the backbone. But it makes me wonder—where does a designer even begin with all that? Like, what’s the first step when you’re creating these worlds?

Rhys

Right. Research is, well, it’s what transforms a good idea into something incredible. And I think it, you know, it begins with the right tools. Like JSTOR or Google Scholar—they’re not just for academics. They’re amazing for digging into themes like dystopian fiction or social concepts that can inspire mechanics.

Alys

Oh, totally! And for designers, there’s also stuff like Gamasutra—not just for tips but for seeing how others approach game worlds. I mean, it’s kinda a goldmine.

Rhys

Exactly. But tools are just one part of it. The methods—those matter just as much. Take surveys, for instance. They’re brilliant for getting player insights. Like, what do players want more of in, say, dystopian narratives? Or focus groups, where you can really dive into their reactions face-to-face. Google Forms or SurveyMonkey makes all that super easy.

Alys

Oh, and then, like, Milanote! That’s basically a lifesaver. You know, for organizing everything—player feedback, cool mechanics, even random ideas—it keeps it all in one spot. Makes chaos look, you know, well, less chaotic.

Rhys

Exactly. And here’s where research really proves its worth. Look at "Mass Effect," for instance. Bioware didn’t just guess what players wanted; they actively listened. Feedback had a direct impact on design—everything from character relationships to side quests.

Alys

Ugh, yes! That's why people still obsess over those games. I mean, the love for Garrus alone could power the internet. But seriously, it’s a perfect case of research paying off, right? You involve players early, and suddenly, the world feels... alive.

Rhys

Absolutely. Research isn’t just about collecting data. It’s about connecting with players, understanding what they value, and building from that. And when it’s done well, it’s—it’s almost like players shape the game alongside you.

Alys

Which is kinda the dream, right? Like, when a game really clicks with its audience, you know the research wasn’t just well-done. It was absolutely essential.

Alys

Alright, so we know research is like the secret ingredient, and we’ve talked about the tools and methods—but here’s what’s on my mind: how do you take all that and actually shape it into a game? Like, what’s that transformation process?

Rhys

That’s the tricky part, isn’t it? It’s all about iteration. Using those insights to shape your mechanics, your narrative... even your aesthetics. And this is where something like Milanote becomes invaluable. You can map your ideas, connect concepts, and always have a clear view of your project’s direction.

Alys

Right? It’s like—okay, imagine you’re brainstorming character arcs. You could have their backstory over here, gameplay mechanics tied to them over there, and, like, tiny sticky notes for plot twists in between. It’s all organized but somehow still creative chaos.

Rhys

Exactly. But it’s not just about organizing—it’s about capturing. Whether you’re sketching environments, recording player feedback, or, you know, jotting down those aha-moments, having everything accessible for revisions is crucial. Games evolve as you develop them. Documentation keeps you grounded while letting you experiment.

Alys

Ooh, like that time you were telling me about "Black Mirror" episodes. They’ve got this way of—what’s the word—reshaping your perspective. It’s not just the stories, but how they’re framed and delivered. It's such a big deal for player perception.

Rhys

That’s a great example. "Black Mirror" plays with familiar realities, but it twists them just enough to make viewers uncomfortable—and hooked. That’s exactly what you want in a dystopian game. Research can help you find those subtle angles, the details that make something hit harder emotionally.

Alys

And players notice, right? Like, when a story reflects those little societal “what-ifs,” it sticks. It’s not just a game anymore; it’s a commentary. And it’s all because the devs did their homework.

Rhys

Exactly. It’s about making players think, feel, and question. With well-researched mechanics and narratives, you’re giving them more than entertainment—you’re giving them an experience. And at the end of the day, that’s what we’re aiming for as designers.

Alys

Yeah, we’re not just building games. We’re building worlds people care about, wrestle with, and remember. And with research? You’re basically giving those worlds a soul.

Rhys

On that note, I think we’ve covered a lot today. From the pull of dystopian narratives to the nuts and bolts of research. It’s been a great chat.

Alys

Oh, for sure. Thanks for listening, everyone! Keep playing, keep creating—and let’s make some amazing worlds out there.