Witching Hour: Initial Design Conception
The first inkling of inspiration for Witching Hour came from a game built in GDevelop called ‘Possession’ wherein a sorcerer used his spirit to possess bodies to help him unlock doors (I can no longer find the game otherwise I would link to it). I enjoyed the concept on being able to switch characters to help complete puzzles and decided to do something similar.
I stumbled upon this picture on Pinterest (https://www.deviantart.com/simoneferriero/art/Morning-Coffee-894658458) which sparked the idea for a magical witch theme.
With a magical witch theme, I was able to conceptualize a cat as a secondary playable character. Having an animal as the second character also helps to differentiate the skills between characters that allow them to work together to solve the problems and puzzles of the game. From here, I was able to brainstorm specific functions for gameplay and story.
Having a theme of a magical witch and her cat helps create engagement with the player as it is a concept they will most likely be familiar with, and from there it is easy to keep the player interested by using game elements to create an emotional connection with the game.
According to Tracy Fullerton in ‘A Playcentric Approach to Creating Innovative Games’, chapter 2 lists 5 elements that engage the player through emotional connection:
Using this list, I was able to lay out my ideas more concisely:
Challenge: “…conflict challenges the players, creating tension as they work to resolve problems and varying levels of achievement or frustration” (chapter 2, pg. 39).
The main challenges of 'Witching Hour' will be the interactive puzzles that require the use of both characters to solve. Because both characters have different skills, it will take a bit of critical thinking for the player to solve and finally move onwards to the next level. Additionally, there will also be enemies roaming the play area to add more conflict and they must be taken care of to continue.
Play: “free movement within a more rigid structure” (chapter 2, pg. 39).
Witching Hour has a more rigid structure as a platformer game, so free movement is limited in that capacity. Levels are also confined by a series of puzzles to unlock doors and gateways to move throughout the level.
Premise: “A basic way that games create engagement is with their overarching premise, which gives context to the formal elements” (chapter 2, pg. 45).
The premise of Witching Hour is that the players are a witch with her cat, trying to escape a forest full of angry spirits.
Character: “…characters are the agents through which dramatic stories are told, providing a way for us to empathise with the situation and live vicariously through their efforts” (chapter 2, pg. 45).
The player will be able to take on the role of both characters and experience their friendship as they help each other escape. This adds a layer of tension as the play will want to help them reach the end.
Story: “…story integrated with play can create powerful emotional results” (chapter 2, pg. 46).
The story of Witching Hour is two friends trying to escape the forest and free it of the plague of spirits currently haunting it.
So that is the current concept of Witching Hour. My next post will cover developing the prototype in GDevelop.