Return to Pac-Man (NaGaWriMo Day 30)

Day 30 of National Game Writing Month! I never thought I would make it here. This has been quite the experience. I am also really glad this won’t happen again until next year.

Return to Pac-Man is by far the most developed game design concept I have made as of yet. It was originally for college related project. Now it is here and I am working on a new one for the college. Hope you enjoy it.

Set during the same time as Ms. Pac-Man, Return to Pac-Man tells the story of Slice. Slice is quite literally the missing slice of the Pac-Man pizza. The game opens with a brief cutscene depicting a yellow circle rolling along peacefully until an accident causes it to break apart into the standard Pac-Man shape and Slice. The two then become separated and Slice sets his mind to returning to Pac-Man.

Running over the dots, pellets and fruits will still cause them to disappear from the stage, however instead of eating them as Pac-Man does the character of my game, Slice, collects them without using them. This causes no gain for Slice instead acting as a determent, furthering his separation from Pac-Man. The resulting loss is one of friendship, companionship and love as the separation between Pac-Man and Slice grows larger.

The environments of Return to Pac-Man are the mazes from both Pac-Man and Ms. Pac-Man. Slice progresses through the mazes in pursuit of Pac-Man. However, upon finally reaching Pac-Man Slice will be denied, because of the relationship that formed between Pac-Man and Ms. Pac-Man during the other game set at the same time. As Slice grows closer to reforming with Pac-Man, Pac-Man is moving farther away from Slice and closer to Ms. Pac-Man.

Playing as Slice provides the player with a new gameplay experience than they are accustomed to with Pac-Man. Because of his unique shape Slice has the ability to push past Ghosts. When coming at them from the front pointed side, Slice can easily slip past them without losing a life. However, from the back rounded end he is just as vulnerable as Pac-Man. This small change reworks the entire gameplay from a chase situation to a much more strategic one. It is possible for Slice to just push past a Ghost and continue on his way, yet that results in the Ghost now being behind him and closer to his weak point. It is this risk vs. reward mechanic added to the gameplay that creates a new challenge for the player.


Thematicly Pac-Man is about gain through consumption, Return to Pac-Man on the other hand, is about loss through collection without use. Hence the growing separation between Pac-Man and Slice. To further the theme of collection without use results in loss, power pellets are reworked to become detrimental to the player. Slice has no way to actually consume them as he lacks a mouth so he collects them with no purpose. Instead of offering a power up and turning the tables on the Ghosts, in Return to Pac-Man the power pellets will slow Slice down as he collects them. Although that doesn’t seem like much it throws off the balance between Slice and Ghosts ever so slightly as to make the game more difficult when under the effect of a power pellet. But, the effect does not last a long time, just enough to change up the pace for the player. To ensure that the player actually goes for the power pellets instead of just avoiding them, like in standard Pac-Man, all dots must be consumed to clear the level.

Both Pac-Man and Ms. Pac-Man were organized in a three act structure; a level of gameplay would be followed by a brief cutscene also referred to as an intermission and then another level of gameplay. Return to Pac-Man will be organized the same way.

Act I is entitled Separation, consisting of the opening cutscene in which Pac-Man and Slice are separated and then the opening level which is the original maze from Pac-Man.

Act II is entitled The Chase, consisting of a cutscene much like that of the same name from Ms. Pac-Man. Instead of having just Pac-Man chase Ms. Pac-Man across the screen several times Slice is added to the chase following behind Pac-Man. The gameplay level is that of the second maze from Ms. Pac-Man, the light blue one. It provides an increase in difficulty without becoming too difficult.

Act III is entitled Loss, unlike the others it will begin with the gameplay portion. The gameplay level is the forth maze from Ms. Pac-Man, the dark blue one. It is the hardest maze in the game meant to challenge the player. The concluding cutscene begins how the opening cutscene of Ms. Pac-Man ends with Pac-Man and Ms. Pac-Man facing each other with a shared heart above them. Slice enters and Pac-Man turns to face him. Both move closer to each other, but then stop at an acceptable distance. Nothing appears above them. Then Pac-Man turns and goes back to Ms. Pac-Man. They exit the screen. Slice is left alone in the center of the screen as it begins to fill up with all the unused dots and power pellets that he collected during his journey.


NaGaWriMo 2013 is officially over. It was damn fun and mostly I am proud of the work I did. Thanks goes out to all those who read my posts, who participated themselves and to anyone who enjoys videogames. Play on.

The Language of Videogames: Part 5 Narrative Significance and Ludonarrative Dissonance

We have already explored the symbolic and systematic basics that underline the functionality of the language of videogames. The way the game is designed is meant to guide the player on an experience of the developer’s choice. Interactive functionality with the game via “win-states” and other gameplay elements are all belonging to a larger group of ludic functionality. Ludic originating from the Latin word ludere which means ‘to play’.  Any word with the root ‘lud’ in reference to videogames and videogames study refers back to play or interactivity. Gameplay and “win-states” are types of ludic functionality that separate and individualize videogames from other media and from themselves. Genres of videogame classification are done by the games ludic functionality; shooter, platformer, puzzle. The language of videogames is ludic in design where each differing vernacular corresponds to a certain genre of game. Yet, where does the story and narrative of videogames fall? How integral a part of the experience are they if the language is designed to be ludic in function? 

As defined by the Oxford Online Dictionary narrative is “a spoken or written account of events; a story”. That definition is suitable, yet lacking. Narrative is also a framing device, the point of view through which a series of events is perceived. That is why within the world of storytelling it is called a narrator. Narrative as told through the language of videogames is no different. Videogames are another form of language through which a spoken or written account of events can be told. Videogames offer new opportunities to tell a story.

Narrative within a videogame gives impetus where “win-states” cannot. From purely gameplay or ludic perspective “win-states” are all that is necessary to make a game compelling. The prime example of this being Tetris. But once the ludic blinders have been removed the experience can fall short. Humans are creatures capable of immense perception. The sound of a subtle door creak, the smell of someplace worn and lived in, the faint brush of wind upon the back of your neck. These are the experiences that we as humans have come to recognize and associate as normal and interesting. Engagement in a purely ludic level quickly becomes tiresome. Narrative the second tool developers use to guide the player along the experience intended for them.

Form the pixilated cutscenes detailing love in Mrs. Pacman narrative has been an important part of the videogame experience. Few videogames go far without a story worth supporting. Bioshock, Mass Effect, The Last of Us are all games touted for their narrative as well as their gameplay. It is this seamless melding of ludic and narrative elements that creates the true beauty of the videogame art form. When interacting with a game the player wants not only to experience the feeling of fun brought froth via a “win-state”, they want to feel as though their actions have influence. Players do not merely wish to shoot at bad guys because it is fun; they wish to shoot at bud guys so they can save the world. It is no surprise that a majority of videogame stories are escapist, wish-fulfillment fantasies. Why would anyone simply read a book or watch a movie where their dream is fulfilled by someone else and they are left with the moderately bitter taste of vicarious enjoyment? Videogames offer unprecedented possibility. As technology increases the limits of what can be created slowly disappear. There is immeasurable potential in the merging ludic and narrative functionality to create something absolutely incredible.

As with all things of great potential there is also a treacherous downside to narrative in videogames that must be carefully navigated. Most commonly referred to as ludonarrative dissonance, it is the discrepancy between gameplay and narrative. When the ludic and narrative elements of a game do not meld the result lowers the entire experience. Recently Bioshock: Infinite has come under fire for the ludonarrative dissonance between its somber story and over the top shooter action. This is little surprise as the original Bioshock is the origin of the phrase. Clink Hocking coined it in describing how the story of Bioshock promotes selflessness by critiquing Objectivism while the gameplay encourages selfishness. The term has been applied to many games since its creation. The Uncharted series is commonly called dissonant for its portrayal of the main character. In cutscenes Nathan Drake is a charming rouge, in gameplay he is a merciless sociopath.   

 However, both Bioshocks are still considered exemplary videogames. The Uncharted series has received countless accolades throughout its time. There is a growing faction within videogame development, journalism and criticism that actively looks for ludonarrative dissonance. This group represents a growing sentiment that games deserve serious examination. The growing critical mindset is slowly becoming more prevalent, but it still remains under the majority of developers, journalists and critics that find no problem with dissonance. There has always been some dissonance in even the best of games and it has become accepted as standard. This is the story part of the game. This is the play part. For the longest time a seamless blending of the narrative and ludic elements was impossible or at best poorly done. That is why Bioshock and Uncharted are respected the way they are. Dissonance is not considered a problem. 

Ludonarrative dissonance is still a difficult concept for a large majority of the gaming populace to accept. The concept of intelligent, critical game analysis is still very new.  The transitionary stages of uncomfortable and awkward growth for videogame analysis mirror that of the game’s industry in the past. It is my best assumption that critical analysis will continue to follow the same path videogames as a total have. In the future there will no longer be critiques of games calling them out for ludonarrative dissonance, but instead ludonarrative resonance. 

The future of videogames lies in the complete and seamless melding of ludic and narrative elements. Some games have come close, others have purposely exploited dissonance to create a dramatic disconnect between player and player character, but there is still potential waiting to be achieved in ludonarrative resonance. I cannot wait.