The game will be released on Steam on Dec. 23, 2022!
I could only show small parts of the game systems, design documents, and artworks so that it won’t be a spoiler. So, I would talk more about team management and production at this moment.
This is the BETA mode web page:
Abstract:
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- Inquire from the Taoism, IftT, is a story-driven Puzzle RPG game. Players act as a young Taoist who is trapped in an unknown space, experiencing bizarre stories. Shuttle in different illusions, use your wisdom and spells to overcome difficulties, find out the truth behind the mystery. You will be yourselves and choose your own path to escape.
Inspiration:
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- Based on the system of my previous game The Atlas: Prologue
My role & COntribution:
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- Producer:
- I build and organize the team with 20 members currently, primarily working on these listing issues mentioned below:
- Writing production documents including milestone plans, product backlog, sprints, etc.
- Managing project folder and sources.
- Holding weekly standups and zoom meetings.
- Assigning tasks to designers, artists, sound designers, writers, and programmers.
- Registering the game on Steam and other game distribution services.
- Controlling development flow according to the plans and keeping updating.
- Following up and monitoring the progress of team members.
- Comforting team members’ emotions and motivating them.
- This is my second time being the producer of a project with more than ten team members. Though the majority of us, except one programmer, are all students, I am still trying to make the process of our development as professional as possible so that we would be more efficient and well-prepared for our future careers.
- I build and organize the team with 20 members currently, primarily working on these listing issues mentioned below:
- Producer:
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- Lead Designer
- I constructed the whole system for IftT, including transplanting and improving several parts like Spelltree and Talisman from my previous game The Atlas: Prologue. Also, I designed all puzzles in the game, connecting and properly embedding them into the plot. Usually, I would finish the whole design myself or give a general idea of the steps and goals of the specific puzzle to another designer who is available. With more experience and a more comprehensive understanding of this game, I would examine their works and give feedback for them to revise.
- Besides determining the Mechanics of the game, I also take charge of drawing sketches of UI and other resources.
- Up to now, I have written more than 40 documents, over 90% of all, all by myself, including Technical Design Document (presented below), design documents, requirement documents to programmers, artists, sound designers, etc.
- Lead Designer
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- Lead Director
- I take charge of grasping the art direction with the lead artist and visual designer because we are trying to achieve a unique painting style between watercolor painting and traditional Chinese ink painting. I also examined the final version of assets, sound effects, and playing experience of puzzles when they were finished and gave feedback to revise or polish.
- Generally speaking, I am responsible for making final decisions on the next step after discussing with other leaders.
- Lead Director
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- Writer
- I create the worldview background and storyline of the game and was responsible for writing the game’s main text contents, including dialogue, item descriptions, spell descriptions, etc.
- Writer
Aesthetics:
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Fantasy
- I want to create a realistic and vivid world, allowing players to immerse themselves in the identity of the protagonist, giving them the most freedom and letting them have a real impact on the world.
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Narrative
- I want to tell a story that would provoke thinking and resonate with the players’ emotions, discussing some perceptions about human natures and social issues.
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Discovery
- In the game world, the player could interact with mostly everything, exploring the contents behind them.
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Involvement
- Different from other puzzle games, I want to add more RPG elements so that players could choose to be themselves other than acting as the protagonist and make their own choices.
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Challenge
- The puzzles in the game are always interlocked with each other, requiring strong reasoning skills and the patience to find clues in the large scene. Players need to read plenty of text content to find useful information, and gradually uncover the truth.
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Sensation
- I hope to create an excellent and unique audio-visual effect for players so that the game is still attractive enough even if you put aside the gameplay mechanics.
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Concepts:
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No illogical puzzle
- In puzzle games, the designers always conventionally place the answer to a puzzle on an item for no reason. For example, when the player opens a book, the contents of the book happen to be the explanation for the mysterious pattern in the window. The height of a candle in the kitchen happens to be a clue to adjusting the position of the microwave oven button.
- In this game, I wanted to completely eliminate such inexplicable clues and blend all the puzzles properly into the plot so that the player can trace the origin of each interactive item and their logical relationship in the story.
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Respect History
- I want to restore as much as possible the historical content used in the game, such as philosophical thoughts, theories, architectural structures, and tools so that our game would be more elaborate with deeper ideological connotations.
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Eastern Culture communication
- In the worldview setting, I integrated the famous mythology of the whole East Asia region to make more cultural collisions, giving players more sense of cultural belonging and bringing them a totally fresh experience.
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Development Process:
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Design:
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UI Interface EXample:
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Puzzle example:
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Asset Example:
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Art:
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Me showing Character Motion
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Viki developing Puzzle Animation
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Production:
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- I started making the plan of developing this game in Jan 2021. By then, there are only four members, including me, in the team.
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Game Genre:
- Puzzle RPG Game
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Target Audience:
- teenagers and adults who have interests in eastern history/mythology and Puzzle games.
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Target platforms:
- Windows & macOS
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Team Size (Only list the main title of that member)
- 1 Lead Designer
- 4 Level Designers
- 1 Visual Designer
- 1 writer
- 1 Lead Programmer
- 5 Programmers
- 1 Lead Artist
- 1 Concept Artist
- 4 Artist
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Project Cycle
- From Mar 2021 to Dec 2022
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The software we use:
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- Git
- Source control
- Manager → Liuwenda Gao
- Teambition
- Team management, Source control
- Manager → Haobin Zhang
- Google Drive
- Project back-up
- Manager → Haobin Zhang
- WeChat
- Communication
- Manager → Haobin Zhang, Liuwenda Gao, Huanyi Li
- Zoom
- Meeting
- Manager → Haobin Zhang
- Git
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Technical Design Document
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Click to download the technical design document
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- I decided to use Teambition as our team management and source control software for two reasons.
Firstly, we need to find software that doesn’t require VPN anywhere all over the world since there are team members currently living in China, the United States, and Sweden. We don’t have any funding by now, but I don’t want members to make an extra payment either. Secondly, Teambition contains all functions we need, including assigning tasks, writing online documents, storing files, and even analyzing contributions. So, we don’t have to use multiple software for different needs.
I am going to show how I use it below
- I decided to use Teambition as our team management and source control software for two reasons.
Mechanics:
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Core mechanics:
- Exploring the world, collecting useful resources, and interacting with items or NPCs to solve puzzles and push narrative branches.
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system (only shows mindmaps of several parts):
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Playtesting: