CyberShock
An Exegesis
Darpan Shukla
P.G. 2nd Year - D.M.A.
Mentor: Yadu Rajiv
Genesis
CyberShock is a competitive role-playing card game for two to eight players. It is set in a
near-future where China’s Social Credit System is a global reality and where certain
corporations engage in ‘personnel consultancy’. Its goal is to provide players with an
engaging experience through gameplay and narrative design.
But it wasn’t always like this. As an idea, CyberShock underwent significant changes
throughout its development - early on, a personal interest in dating apps and their social
dynamics drove my enquiry, gradually becoming a more comprehensive study. Initially,
the focus was on how people use dating applications and telling their stories, in order to
paint a picture of contemporary relationships and their perils.
However, it became evident that dating apps are merely symptomatic of what I was
really trying to get at: basic changes in the nature of our interpersonal relationships,
brought about by the prevalence and accessibility of social media platforms.
Virtual grooming, if you will.
This epiphany caused my idea to evolve - I was now going to be dealing with the notion
of changing social norms, not just in the dating world, but everywhere. Research into
China’s upcoming Credit System further compounded the notion that this was an
inevitability: B
lack Mirror was going to become our reality.
Obvious enquiries arise - how far does this credit thing go? Does it determine which
jobs a person can apply for? Or whether they can get a job at all? What about
relationships and marriages? Policymakers, politicians and others in positions of power
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would be affected by this system how? Would they be able to manipulate it to suit
their needs and if so, what would the consequences be? Also, who the hell’s designing
this system, anyway?
These questions, which comprise just the tip of the iceberg, became the central themes
of CyberShock, which had by now undergone multiple iterations as far as medium or
format was concerned, as well. While my goal of creating a ‘playable, interactive
experience’ has never changed - primarily because of my belief in interactive storytelling
- the nature of this experience was in flux.
Starting out as a video game, i.e. a digital experience playable on screens, it went
through an experimental phase where I attempted to translate everything I’d been
working on directly into board game format. This was unsuccessful, prompting me to
return to a digital version, but personal limitations would prevent me from crafting the
experience I had visualized. Thus, in an effort to come as close to what I had envisioned
as possible, CyberShock has been developed in its present form. This is an excerpt of
my earlier enquiry, to provide context:
Today, people around the world are connected to an unprecedented degree. So much so that I
don’t think it’s inappropriate to say that even my generation tends to feel out of touch, on
occasion.
From the deliciously paranoid and bleak vision of the future that is the standard B
lack Mirror
episode to the meteoric rise of cryptocurrency and its subsequent impact on the distribution of
contraband on the darkweb, it can hardly be denied that life in 2019 is - if nothing else -
interesting.
Amongst the myriad of new phenomena that constantly emerge from our apparently collective
need to bond with each other - ranging from selfies to trolling - dating applications are a subject
of personal fascination. It is my belief that their usage is highly indicative of a society’s mindset
and speaks volumes about how comfortable the people who make up that society are with
themselves.
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That being said, I have several questions about these new norms and I’d like to focus my
enquiry towards understanding them as best I can, which will aid me in crafting my experience.”
The Experience
Players will choose one of eight playable characters, each with their own unique
biography, statistics and traits. Every character also has a unique Citizen Credit Rating
(CCR) which will increase or decrease as the game progresses, and they all work for a
megacorp. The prototype’s goal is to have the highest credit rating at the end of 10
turns to ‘win’, although its design allows for longer formats of gameplay.
Despite this initial setup, the game is slightly deceptive about its win state: having the
highest CCR is a win state if you play by the rules, but a central component of this
experience is player choice - if someone chooses to play the game differently, they may
receive a more personally rewarding outcome than someone who has the highest score.
This results in the nature of the game being uniquely positioned as indirectly
competitive. Players can approach the game ruthlessly, putting personal gain above all
else, and will actually be encouraged to do so. However, they can also attempt to avoid
going against their own moral compass, even if this means losing their CCR, which,
while not directly encouraged, is allowed.
1. Ending A - the default win state awarded to the player with the highest CCR.
2. Ending B - players with lower CCRs will receive this outcome.
3. Ending C - players with a lower CCR, but who meet certain conditions will receive
this outcome.
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For example, the LISA series of games served as inspiration for the tone and overall feel
of the world and its characters, while several adventure games were the foundation for
gameplay. The most pertinent influence on my project, however, would have to be
Papers, Please - a 2013 video game created by Lucas Pope, in which players control a
government official at a border checkpoint.
Set in a fictional country in an alternate 80s timeline, the game requires players to check
passports and other documentation, approving or denying them as per their
instructions. While this seems extremely mundane, or even boring, this simple premise
belies the game’s nature.
Over the course of their duties as a government official working under the glorious state
of Arstotzka, players will be placed in a variety of morally ambiguous situations. This in
turn creates memorable dilemmas that the player is forced to resolve, while weighing
the pros and cons of these decisions. Also, these situations are tailored to the players
profession as a customs official at a border checkpoint, which further immerses the
player in this slice of alternate history.
The players personal responsibilities to the game world are manifested as resources
that the player can manage, such as their salary, which can be utilized in a variety of
ways. As an added caveat, the state demands efficiency and competence from all of its
employees - if the player slips up in any way, they will be notified of the state’s
knowledge of their mistake, three of these notifications resulting in a game over.
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The project is being conceived and developed as a working prototype of a game. This is
primarily because I want to use the medium as a platform for participation. I do not wish
to make a film or a similar output because I want players to engage with the game,
consciously driving the action forward. I want them to play with a story, as opposed to
being told a story.
Elaborating upon my perception of the difference between the two, some of the most
memorable experiences in my life have come from the media I’ve been exposed to.
Certain shows, books, movies or certain kinds of music have had an enormous
influence on the person I grew up to be. However, storytelling in video games has
consistently left me speechless. Ever since I was six or eight years old and witnessed
the unadulterated awesomeness that was Final Doom, I knew that was where it was at.
From then on, a plethora of other experiences - ranging from the ultraviolent to the heart
wrenchingly poignant - have all shaped my understanding of how to tell stories. It’s now
reached the point where almost anything I absorb in another medium prompts me to
think of what it could be like as a game.
In a more specific sense, I firmly believe my project can only truly come to life as a
game. This is mainly because of the differences between games and other mediums
when it comes to the dissemination of a narrative. A story being told visually needs to
follow certain conventions and formats in order to be most effective - I can only show
so much in a given time. A game, conversely, allows players to explore a handcrafted
world at their own pace.
So, instead of directing a viewer’s attention to something in specific, I can create an
interesting space full of little touches and quirks that users can discover as they play.
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This has always been an enchanting hallmark of games: they can imbue their users
with a powerful sense of wonder, amusement, curiousity or even fear, should they
choose to.
This is why I would like to create a playable story as opposed to one that can only be
viewed.
Goals
1. Narrative Focus: Storytelling is the central pillar upon which this experience is
built. Players should feel some sense of familiarity and relatability to the world
they find themselves in, which in turn will drive their desire to learn about it.
3. Tone: CyberShock is aimed at an older audience and will feature settings, dialog
and themes which pay homage to dark satire and black humor, much like certain
other titles in a similar vein.
5. Working Prototype: Creating a playable prototype is the ultimate goal. Even if
certain features do not make it to this final version, as long as it can be
completed from beginning to end while telling its story, I will be content.
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Employee Orientation
In the (hopefully improbable) near future, technocracy reigns supreme.
Our organization specializes in big data consultancy, which is where you come in: the
analysis of a person’s digital footprint - every site they visit, every purchase they make,
every picture they take or message they send - is your job. If it’s in the cloud, you’ve got
access to it.
These analyses are then forwarded along to higher-ups who then deal with the individual
in question, ranging from promotions to criminal sentencing. While we in no way conflict
with the justice system of our society, everyone, from corporations to the government
relies on the recommendations of companies like ours to expediently take decisions
that will forever change people’s lives.
Over the course of your time as an employee at Metamorph Corp., you may be tempted
to exercise your ‘free-will’, go against your profile and do something that, to you, seems
like a good idea. Please, do not a
ct upon these urges, as we have found that they
frequently stem from a moral disagreement on the employees’ part. If you feel like too
much is being asked of you, please schedule an appointment with our Director of
Human Resources, who will take the appropriate steps to counsel you.
Finally, please report to your cubicle on time, remember to provide identification and
records of your presence at all times and have a productive day!
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Dramatis Personae
These are some of the people and factions that make up the world of CyberShock:
2. Mr. Orwell
Your immediate supervisor and someone you will come into frequent contact
with. Is a natural at mass surveillance, which presumably makes him better at his
job. Not really someone whose bad side you’d want to get on.
4. Fringe elements
Ever wonder what happens to people who get fired? Or who fail to have a
satisfactory footprint? Aside from the institutionalized, they just seem to fall off
the grid. Identification is no longer updated, records come to an abrupt halt. For
better or worse, these people simply cease to exist, as far as the world at large is
concerned.
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grapevine at the techno-equivalent of the water cooler. Just don’t let ‘em
distract you from your job - it is a dog-eat-dog world, after all.
Gameplay
The game will consist of a single deck of cards, eight separate character sheets and
some tokens, which will serve as markers. Players will select their character and use the
appropriate sheet throughout the game. The deck of cards contains 10 special ‘Profiles’
which will be placed in a separate, smaller deck next to the larger, central deck.
Players will draw a card, in turn, and resolve its requirements before discarding it, face
up, next to their character sheet. This will continue until the end of the prescribed turn
limit, at which time the victor will be decided.
The basic gameplay loop involves drawing cards from the central deck, resolving the
conflict it presents, if any, before switching over to other players and repeating the
process. The player is given certain choices which will allow them to make certain
decisions that may surprise even them..
The inclusion of reactivity in the form of choices and their consequences is tied to
creating two distinct scenarios:
a.) The player follows their orders and does their job, which results in being rewarded by
the personification of the organization
While this is an interesting premise, replayability was not a focus. Evidently, multiple
playthroughs of the game may result in players dismissing certain playstyles as wrong.
The only way to really ‘win’ the game, short of not playing it, is to strike a careful balance
between serving an impersonal system and following one’s own moral compass.
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My developmental process mainly consisted of pen and paper prototyping as well as
playtesting. The final playable prototype will consist of a printed deck of cards, sheets
and tokens that will be used to setup the game.
Supplementals
Please note, artefacts that will supplement this document during my presentation
include visual compilations and images of my process. A playable prototype will also be
included.
Reflections
My capstone has been an incredible experience, predominantly because of the degree
of autonomy that comes with it. Being able to define a personal area of interest and use
it as the basis for my work has been immensely gratifying.
In addition, the evolution of my ideas over time and through seminars has been more
pronounced here than ever before - the gradual development of my work in this manner
has allowed my to recognize a personal creative practice related to what I’d like to do in
the future.
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The challenges presented by this project, i.e. its transformation and growth, are
unique: developing a setting in which my ideas would make sense and be engaging,
creating a ruleset that defined the experience, or even modifying said ruleset to fit
another medium entirely, to name a few. While seeking to overcome these, my craft is
improving as my process becomes more clearly defined.
Overall, working on CyberShock has been an adventure of sorts, and I look forward to its
future.
Conclusion
The development of CyberShock is an eye-opening, reaffirming experience. Interactive
experience design is an incredible way to tell stories and this card game serves as a
personal reminder of my strengths and capabilities, which I would like to build upon.
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References
Primordia - h
ttp://www.wadjeteyegames.com/games/primordia/
Articles on Medium:
https://medium.com/popular-science/artificial-intelligence-thinks-your-face-is-full-of-data-could-
it-actually-unmask-you-4f4f07aad340
https://medium.com/forbes/are-machines-conscious-938dc794c8ce
https://medium.com/@AItheist/humanitys-search-for-meaning-in-the-age-of-ai-and-automation-
18c850544502
https://onezero.medium.com/can-govtech-save-the-government-and-tech-f7890801293c
https://medium.com/aeon-magazine/what-are-the-values-that-drive-decision-making-by-a-i-eafb
c2517392
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Tinder Alternatives
https://www.health.com/relationships/venmo-is-ruining-dating
Withdrawal Symptoms?
https://www.independent.co.uk/life-style/love-sex/dating-apps-quit-what-happened-bumble-tind
er-happn-hinge-millennials-a8427471.html
A Character Sprite Tutorial
http://decembirth.tumblr.com/post/138474477636/shelbbys-lisa-style-sprite-tutorial
Fangame Resources (for personal asset creation)
http://lisa-rpg.wikia.com/wiki/Basic_Fangame_Resources
Dramatic Elements of Games and Narrative Design
http://www.acagamic.com/courses/infr1330-2014/dramatic-elements-of-games-and-narrative-
design/
Creating a Great Design Document
https://www.gamasutra.com/view/feature/131632/creating_a_great_design_document.php