To The Moon

To the Moon is an indie Adventure RPG, about two doctors traversing through the memories of a dying man to fulfill his last wish.

Type or genre(s):

RPG, Adventure, Sci-Fi, Tragicomedy, Psychological

Platform:

Windows, Mac, Linux

Length:

~4.5 hours

“How do I explain why it’s brilliant without spoiling what makes it so?”
– Eurogamer 9/10

“To the Moon is a game you must play.”
– GameSpot 8/10

“I guess the music’s kinda nice.”
– Developer’s Aunt

“It’s simple, poignant, and full of heart.”
– PC World (GamePro) 10/10

Dr. Rosalene and Dr. Watts have peculiar jobs: They give people another chance to live, all the way from the very beginning... but only in their patients' heads.

This particular story follows their attempt to fulfill the dream of an elderly man, Johnny. With each step back in time, a new fragment of Johnny's past is revealed. As the two doctors piece together the puzzled events that spanned a lifetime, they seek to find out just why the frail old man chose his dying wish to be what it is.

And Johnny's last wish is, of course... to go to the moon.

Key Features

  • A unique & non-combat story-driven experience

The rhythm of the script structure

Foreshadowing

大量的伏笔在解谜和转折阶段联系起来则会产生一股巨大的冲击,环环相扣会让玩家认可这个故事的可信度。

Mystery

谜团可以让玩家对后面的故事产生期待,并持续思考已知信息的联系

解谜阶段则会让玩家产生一种满足感;

Transition

转折则会打破玩家的期待,营造一种惊喜的感觉;

solving mysteries

Nowadays, the electronic game gives players sensory stimulation from vision, hearing, and so on.  To the Moon, a game that can be called a work of Art.

Actually I am not going to talk too much about the content of this game right now cause I strongly recommend you all to play. It will be much less fun if I tell you the ending. It has been already move to the mobile platform.

Today what I would like to focus on is  STORYTELLING. Which is the most outstanding part of this game.

//在整个体验过程中,以上手法让游戏让玩家持续处于情感波动状态,上述4个时期则最为明显,让故事叙述得更加平滑可信。

Fragment 4: Johnny and River went to the moon by rocket in their youth after revising their memories

// I intended to choose these games instead of those big games like Detroit is because I want to emphasize the story instead of the fancy visual and motions of the movie.

//Because the real Johnny's body was almost unbearable, so the image in the rocket cabin began to flicker in memory. At this time, Johnny was somewhat uneasy, while River with "social disorder" took the initiative to reach out and they went to the moon hand in hand.

//Actually no one deny To the moon is a very good story but there are quite a lot of people deny that this is a good game. The original impression is that the game with heavy plot and light play is only a word adventure game. In the game process, there are multiple options to allow players to choose which branch line to enter. Because the game is more interactive than movies and novels. If there is no play, even the trend of the plot can not be affected. The player's participation in the game is actually very much. Low. That's why many people criticize this game.

So here is the question I want to ask. Can story make a game.

STORY

A form of communication

connect mental and emotional states

What Makes a Good Human STORY

故事对你的游戏最大的益处是:一个关于人的故事是最能广泛地被受众接受的。游戏玩家群体通常被分为:休闲玩家,中核玩家,和硬核玩家。所以如果你的叙事能让人产生共鸣,那么它一定能被受众接受。当故事与美术和音乐结合、再加上互动的元素,它就会具有无比的infectious ——这就是游戏。也是建立你与玩家的一种连接。

以下是常常能在人的故事中找到的一些特点:personal relatable authentic complete spectrum 

1个人化。最关键的是说故事必须要有侧重点,专注于传达故事的主题,以及你希望观众理解的情感,故事里的角色就不会太多,这样每个角色都能充分地被塑造。
2关于令人共鸣的特点。一般故事很难通过用相似的经历让玩家共鸣,通常是通过表达一些令人共鸣的主题。对于正在看故事的人来说,人的故事本质上是一种「不再孤独」的感觉:他们想体会Protagonist所经历的脆弱、焦虑、愉悦和渴望等一系列感情,而这些情感也是其他人所体验过的,而且故事恰恰可以很好地传达它。
3接下来讲情感光谱。
如果当你体验一部作品前,有人告诉你它会让你感动落泪,你通常会在不经意间树立起感情上的防御壁垒,避免自己被感动
4然后,故事要令人信服。这并不是说要写自传式的故事,但是作品的灵感来源要来自于内心真实的感受、或是作者能够产生很深连接的事物。作者完全可以展示自己内心个人化的、脆弱的一面。
有一个方法可以判断你写的故事是否已经足够影响人心:piss off

PERSONAL

Focus on micro

small-scaled main cast/subject

RELATABLE

unrelated plot

relatable theme trigger more self-inflicted themes 

Complete spectrum

variation in mood create fuller experience

Doesn't have to be biographical

Authentic

how we build this connection

事实上,你与玩家之间经常会有「断连」现象存在:你想表达的独特情感,与玩家根据自身经历所理解的情感并不相同。说故事最关键的是要保持与受众间的two way process,这很难,因为你在写故事时无法听取受众的感受。
那么,how can we build this connection?

 

There are quite a lot of ways to that. But I would like to talk about these 3 steps.

每个人看问题的角度都是不同的,不可能把所有人的角度都考虑一遍。然而,你可以给玩家一个机会,去承认属于他们的角度,告诉他们:我知道这个故事没有照你们的预想进行,也明白你们暂时无法理解它为何如此发展,我理解你们的感受。即便是坚定地拒绝也好:不,我知道你虽然这么想,但是故事不会这样发展。即使这一个否认也可以消除玩家被忽略的感受。对一个游戏来说,忽略玩家的感受就是最大的失误。

在「去月球」里,两个博士的主要作用就是负责承认玩家的感受。当玩家在探索Johnny的一生时,两个医生从最初就与玩家一直相伴,他们就是玩家感受的投射,他们的存在使玩家不至于觉得自己的感受被忽略。

然后讲「移情和期待」。讲故事是一个双向的过程,所以在每个故事的关键点与玩家保持同步就变得非常重要。你需要了解玩家会处于怎样的心理状态,然后对其进行回应。而对心理状态最好的回应方法是:要么reflect or subvert。

1

Recogenize the disconnect

2

Communicate and reassure

3

empathy & anticipation

synchronize with the players states and expectation

Epilogue

最后说设计故事的目的。其实在如今的大环境中,剧情往往只是游戏的副属品,游戏制作者常常觉得,游戏剧情就是让游戏更有趣一些。但这并不是设计故事的目的,因为无法定义什么是「有趣」,(我是什么)也无法找到要实现的目标。然而,如果你着眼于沟通,着眼于让人体会一个真实的情感状态,让玩家在玩游戏时自然地体会到这种状态,最终结果是游戏也自然变得有趣起来。在演讲的最后,我想说:在每个人的生命中,都有太多可以成为故事的东西,这不仅包括那些疯狂的、很厉害的经历,也包括我们每天的日常。只要用心去体会和发现,你会找到一个合适的角度去表达它。谢谢。

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