Today we released the 'game novel' I wrote and designed with Daily Magic, and the game is now featured on the App Store! Here we are in the top running under 'New Games We Love' ~
I'm thrilled to announce the launch of my latest game, Sender Unknown: The Woods, a collaboration with Daily Magic Productions. Here's the download link! The game is exclusive to the App Store until Oct. 4.
Through a text message, fate connects you with a total stranger. Now you are Morgan’s only hope to survive. Will you serve as a lifeline, or return to your own life and let a stranger’s fate go unknown?
Four friends are lost deep in the Ozarks, stalked by a madman. With your help, they’ll solve intricate puzzles, make difficult choices, repair their relationships, and save each other’s lives.
Through text messages and images, you can guide them away from harrowing danger and solve a mystery. Your choices will determine who loves, who lives, and who dies.
How much will you put on the line for a Sender Unknown?
Daily Magic Productions teamed up with award-winning author and game designer Lisa Brunette to bring you this interactive tale where the choices you make can change everything. Multiple paths through the game give you wildly different results—from romance to exciting twists and reveals to who survives the nightmare.
The game begins when you log onto an anonymous chat app for the first time, and a “sender unknown” reaches out to you—with a life-and-death appeal for help! Alone and lost in the woods, your new chat buddy, Morgan, must escape a broken-down RV surrounded by ravenous wolves. And that’s just problem number one.
Morgan’s friends and insulin supply are missing, and it seems the madman who took them wants to play games through the radio. He has a thing for riddles and traps—human traps, that is.
The ability to receive images means you can see the traps for yourself—and help Morgan survive a chilling nightmare!
At every game ending, you have the option to reset to your last defining choice, to the start of the last chapter, or back to the very beginning.
Stats add up as you play, and they can determine whether a choice you make succeeds, or fails.
Can you beat a madman at his own game—without sacrificing anyone? Will you help Morgan uncover the mystery that still haunts these dark woods?
- Choose from 3 options at every decision!
- Shape the story and build stats in 5 categories. Success or failure depends on your stats!
- Open beautifully rendered images of crucial scenes and visual puzzles!
- Engage with the story as it unfolds through real-time notifications!
- Internet connection not required, and there are no in-app purchases.
Points of Interest
Total Immersion — A new twist on the “choose your own adventure” genre allows players to become the hero in real time, and react in their own way, on their own terms. Your choices will determine how characters view you—and how the story unfolds.
Brilliant Story — Lisa Brunette, author of the award-winning Dreamslippers Series and other works, provides her unique narrative vision and writing to craft a pulse-pounding mystery. With Sender Unknown: The Woods, Lisa’s one-of-a-kind talent gives players a down-to-earth and immersive adventure like no other.
Praise for Daily Magic
“The best kind of ghost story, filled with love, money, betrayal, and murder.” - Review of Dark Dimensions: City of Fog, Gamezebo
“The visuals in Dark Dimensions: Homecoming are simply outstanding…” - All About CasualGame
“Captivating story that really draws you in.” - Review of Sable Maze: Norwich Caves, Gamezebo
Praise for Lisa Brunette
“Brunette’s portrayals… are nothing short of genius.” - Review of the Dreamslippers Series, On My Kindle
“An enjoyable surprise for fans of the genre.” - Review of debut novel Cat in the Flock, Kirkus Reviews
“A mystery with teeth and wounds and loss.” - Review of Framed and Burning, Readers Lane
Platform: iOS and Android smartphones/tablets
Genre: mystery / horror / puzzle
Developer: Daily Magic Productions
Release Date: 2017
About Daily Magic Productions
Daily Magic Productions is a dedicated, experienced, and effective international developer with more than 18 high-quality puzzle adventure titles released on PC and mobile platforms. With their no-nonsense approach to development, Daily Magic’s focus is now on delivering the best mobile free-to-play and VR experiences on the world market.
Since 2011 Daily Magic has been a powerhouse of Hidden Object Puzzle Adventure games for Big Fish, releasing several titles a year since their founding. From those experiences and rapid growth Daily Magic has built a strong and highly creative team of artists and developers ready to take on unfamiliar worlds, and build one-of-a-kind experiences.
About Lisa Brunette
Lisa Brunette is an award-winning writer and game designer. All three books in her bestselling Dreamslippers Series have won indieBRAG medallions, and the second book was also named a finalist for the Nancy Pearl Book Award and nominated for a RONE Award. Brunette’s game-writing credits include hundreds of titles, played by worldwide audiences in the millions, for Big Fish and other publishers. New games Sender Unknown: The Woods and Matchington Mansion both release in 2017. She also has a long list of bylines as a journalist, short-story writer, and poet. Her work has appeared in the Seattle Post-Intelligencer, Seattle Woman, Poets & Writers, and elsewhere.
A ten-year game industry veteran, Lisa Brunette has been credited on AAA console titles and bestselling mobile and downloadable games. She has worked for Nintendo, Take-2 Interactive’s Cat Daddy Games, and Big Fish, where she led a team of narrative designers. Now independent, her clients include WG Cells, Daily Magic, Magic Tavern, Pixelberry Studios, and G5 Entertainment. She is currently visiting assistant professor of game design at Webster University.
If you're following me as a fan of the Dreamslippers Series, you've probably noticed I've been slipping more and more of my game writing and designing work into this here blog content. I love writing stories across the two mediums of books and games, and I think writing in both spaces makes me stronger in each.
I promise you that if you enjoyed the Dreamslippers, you'll love my writing in games, too. Case in point, Sender Unknown: The Woods, an interactive novel in the mystery/thriller genre, which releases this summer.
Now, onto the next game-related bit of news: I'm excited to announce I'll be speaking at Casual Connect Seattle at the end of this month as part of the 21st Century Leadership & Power in Diversity Symposium, which kicks off the conference on July 31. The symposium was organized by Women in Games and Contagious Creativity in conjunction with the Casual Games Association's United in Diversity Initiative. It's a full day to explore topics in diversity, leadership, and professional growth in the video game and digital media industries.
My talk focuses on "Indie Pioneers! The Path Less Traveled." I will discuss the ins and outs of transitioning from leadership at a major game publisher to fending for myself as an indie writer and game designer. Lindsay Peck from Imagos Softworks and Robin Hunicke of Funomena will join me on the panel. (Lindsay might be a ghost, though):
Casual Connect is the major industry conference for casual games, offering "inspiration from the most respected thought leaders in the games industry." I'm one of 250 speakers over 9 tracks representing the leaders in the next generation of games. Studios represented include makers of your favorite casual games: Candy Crush, Cooking Dash, Kim Kardashian Hollywood, Wheel of Fortune, Bejeweled, any of the HOPA titles you've played from Big Fish, and more. That means people will be there from Playtika, Glu, King, Scopely, FlowPlay, GSN Games, Viveport, Resolution Games, ConveneVR, SkyDance Interactive, Against Gravity, and of course, my one-person studio, Sky Harbor. Here's my speaker bio, by the way.
If you're attending the con, please stop by the panel, or feel free to reach out to me by email using this handy link. I'd love to meet up with you. Otherwise, wish me luck!
I'm excited to announce Unknown Sender: The Woods, my debut interactive novel produced by Daily Magic, releasing this summer.
I hope you like the cover art loading screen*. It's rare for a writer to get credit on a game's loading screen like this, by the way. You can buy, download, and play it on your digital device like any other game, but since it's text-based and story-driven, the folks at Daily Magic decided to acknowledge that it's largely a written work.
The interaction comes in the choices you, the player or reader, make as you progress through the story. You log onto an anonymous chat app for the first time, and an "unknown sender" reaches out to you--with a life-and-death appeal for help. Alone and lost in the woods, your new chat buddy must escape a broken-down RV surrounded by ravenous wolves. And that's just problem number one.
Your texter's friends and insulin supply are missing, and it seems whoever took them wants to play games through the radio. This psycho geneticist has a thing for riddles and traps--human traps, that is.
Can you beat him at his own game--without sacrificing anyone? Will you help Unknown Sender uncover the mystery that still haunts these dark woods?
* For you non-gamers: The loading screen is what you see when the game content is loading onto your device. It's treated sort of like a book cover.
Those of you who know me as author of the Dreamslippers Series might've missed that I also write games. With nearly a decade of game work under my belt, I'm something of a know-it-all when it comes to games, at least the story portion of them, and at least games with fairly accessible controls, such as your Wii or iPad. I guess you could say these are "casual" games--although what that means keeps changing. Let's just say I have never written for the type of game that is like what most people think of (usually disparagingly) when they think of video games: anything with a lot of blood and gore in which shooting/killing is the "play." Not that there's anything wrong with those, as some represent the finest storytelling in the medium. But the games I've worked on have been much more mainstream, the gameplay focused on solving mysteries and puzzles, using deduction and intrigue, and standard interactions such as "match three in a row."
For five years, I served as a sort of story consultant for Big Fish, where my team of narrative designers and I critiqued and edited games designed by studios all over the world. We dedicated ourselves to helping our partner developers make the stories in each game as compelling as they could possibly be. One of those partners was Russian studio Daily Magic Productions, which is how I first met Marianna Vallejo, pictured above.
As narrative designer on most of Daily Magic's games for Big Fish, I helped design and edit the Dark Dimensions, Sable Maze, Ominous Objects, and other series, so Marianna and I have in effect been working on games together since 2011. Flash forward to last fall, when we met to talk about working together as independents on something different than the hidden-object puzzle adventure games we made for years.
Different, yes, but also building on what we know how to do well: tell stories in games, integrating the narrative with the puzzle play for the enhancement of both, and ultimately, the player's highest enjoyment.
Marianna and I were on the same page about what interests us in games and where we think they can go. We decided to make one together, and it releases this summer. I can't wait to tell you more about it! For now, here's the trailer:
An Interview with Lifeline Writer Dave Justus
Dave Justus is author of the first and many other games in the Lifeline series from Big Fish—including the eponymous original; Lifeline 2: Bloodline; Lifeline: Silent Night; and Lifeline: Halfway To Infinity—which have enjoyed nearly 7 million worldwide downloads to date. He is also the co-writer, with Lilah Sturges, of the comic books Everafter: From The Pages Of Fables; Public Relations; Fables: The Wolf Among Us; and more.
Lifeline games are games, but they're also novels. Part of the growing "interactive fiction" genre, the games are entirely text-based, with the reader making choices throughout. It goes like this: A stranded astronaut contacts you, asking for help in the form of a person to talk to as well as ask for advice. Sort of like if "The Martian" were a game instead of a movie, and you got to talk to Mark Watney the entire time he's stranded on Mars.
Lisa: How did you get involved in writing the Lifeline series? Did you have any background in the game industry? What was the genesis for the first game?
Dave: I came to Lifeline in a sort of roundabout way. The original game was being developed by Three Minute Games, a tiny three-man skunkworks within Big Fish. They'd had some minor successes, but they'd come up with the concept for Lifeline and wanted its release to coincide with the release of the Apple Watch. They offered the job to my friend Daryl Gregory -- who is one of the best writers I've ever read, and I thought as much before I ever met him -- but he was too booked to do it, so he very kindly suggested me for the position. Three Minute took a chance on me (I'd barely been published at that point), and gave me tremendous freedom under a very tight deadline. They knew they wanted about three days of gameplay, a sci-fi story with a nongendered protagonist in a "choose your own adventure" style, and they needed it in five weeks. Beyond that, I was free to do whatever I wanted... which was both amazing and daunting.
I had no background in games whatsoever, but I honestly think, in this case, that worked to my advantage. I'd been an avid NES gamer in my childhood, had spent plenty of time with Infocom games like Hitchhiker's Guide (whose DNA you can certainly see in Lifeline), and had played several Playstation games growing up, but the last one I'd really sunk any amount of time into was Tomb Raider 2, back in college. Once I graduated, I had very little "mad money," and I chose to apply that to comics (which I've been collecting since I was eight) rather than video games. But in the case of Lifeline, I think it worked out very well, because I wrote the game purely as a conversation. I wasn't thinking in terms of "power-ups" or acquiring weapons or typical video game structures; rather, I wanted it to feel as much as possible like the Player was receiving texts from a real human being. And the feedback we've gotten has largely indicated that that's exactly what people feel when they're playing: They're not controlling a sprite, they're talking to an actual person.
Lisa: How much text is in these games? As much as a typical novel, say 80,000 words, at least? Or far fewer? Also, you say they wanted three days of play, but I note there are breaks when Taylor is busy. What's the breakout between "idle" time and actual play? How did you figure out how long the breaks should be? What's the longest? The shortest?
Dave: The first Lifeline game is a little over 50,000 words -- more in the range of a novella, or possibly a YA novel. Because of the way I ended up structuring the game (in that I didn't really know what I was doing and wanted to give people the most bang for their buck), a Player who makes it to the end of the game alive will actually have seen the bulk of the game's text. Hopefully no passages that contradict any others, obviously... but I wanted to put as much info as possible on the screen.
Lifeline 2: Bloodline had almost twice as many words. It was very freeing for me, because I felt like I could go into so much more depth on Arika's character, her world, and her quests... but it was a lot to ask of the team on the other end, specifically in terms of translation to other languages. For subsequent games, we've looked for a happy medium in terms of word count: not so much that it causes panic attacks at the Big Fish offices, but enough that the authors can stretch their legs a bit and the Players can, we hope, feel satisfied with the end result.
The "idle" time was essential to Three Minute's concept of a real-time conversation; it takes time for the characters to walk to a new location, or to eat a meal, or to rest for a bit. The first "long" break in the original Lifeline comes when Taylor sleeps on the first night -- the Player must give Taylor some information that creates a life-or-death scenario overnight, and we wanted Players to be tense, anxious to see whether their advice had been Taylor's doom or salvation. I believe that the longest break is six hours (for a character to sleep); delays can be as short as a couple of seconds, if we want to employ them to help with the timing of a joke or something. I originally feared that the breaks would be a turn-off to Players, that no one would want to wait an hour while Taylor walked around a crater. And indeed, after one death, the games give you the option to switch off the "real-time" mode and play with no delays whatsoever. But what we found was that, overwhelmingly, the majority of Players chose to switch back to "real-time" after trying "fast" mode. The preference for the delays is considerable.
Lisa: Let me return to what you said about wanting players to feel as if they're talking to an actual person instead of "controlling a sprite," and how your lack of game-industry experience felt like an advantage to you. This might rankle seasoned game writers and narrative designers, since we're quite serious about our craft and its tradition beyond power-ups and what's "typical." Have you since become part of the game-writing community, instead of a sort of self-described outsider? Or do you still see yourself that way? I'm asking because text adventures in particular have a history and set of best practices that predate what we think of as video games today.
Dave: Please believe me when I say that the last thing I intended here was to cause offense. When I say "typical" structures, I only meant the things that I, personally, thought of as aspects common to NES and arcade games, based on my own history with them. As I mentioned, I'd also played many text games back on my old Apple IIe, and I was primarily drawing from my (admittedly fairly hazy) memories of those while trying to construct Lifeline.
I would definitely still consider myself an outsider when it comes to game writing. I'm in Texas -- nowhere near Big Fish or Three Minute, out on the West Coast -- and I don't wind up getting to attend all the expos and conventions with them. I would be very interested if you could point me to resources for the best practices that you mention -- I perpetually feel like I sort of stumbled into success with Lifeline, and I keep waiting for someone to tap me on the shoulder and say, "We know you're just faking it. It's time for you to leave." That day is going to suck.
Lisa: Great answer ;). I'll send you some links later on so you can join the game-writing party! Next question: Older players or those younger who've discovered the series anew might compare Lifeline to the Choose Your Own Adventure books, which were first popular in the 80s (I was a huge fan). Were those an inspiration for you?
Dave: They absolutely were. I was a voracious reader as a child -- the sort who would read the back of cereal boxes, just because they had words on them. My parents and grandparents, much to their credit, always indulged this behavior, so I had shelves and shelves of books, including probably two dozen or so Choose Your Own Adventure titles. The one that stands out in my mind, to this day, is Inside UFO 54-40, credited to Edward Packard -- it was a terrifying science fiction story, bleak to the point of nihilism, in which all paths led to defeat, and the best ending could never actually be reached. And it blew my tiny mind. It was the bridge between kids' books and adult literature for me. Once that book had broken me, I could not have cared less about Beezus and Ramona; I was ready for the Overlook Hotel and moon monoliths and Nadsat.
Lisa: I first came across your work back when I was with Big Fish, as manager of the narrative design team. How did the relationship between Big Fish and 3-Minute Games come about, in as much as you can share with readers?
Dave: I'm probably not the best person to answer this one. My understanding is that Three Minute were operating as a skunkworks under the auspices of Big Fish, coming up with all sorts of games like Feed Your Monster and Poll Party. Basically, they were testing different styles of games, different pay structures, seeing which combinations worked best. They had the idea for Lifeline -- from its style to its pay structure to its length, everything came from them. They had done the work in order to make the determination that this was the best admixture of elements... and they got it very, very right. How much I contributed to that, it's hard to say; they had laid the groundwork for me so well, all I had to do was step in and not completely fall on my face. I'm grateful every day that they set me up to succeed, and I'm happy that I was able to deliver something that achieved what they were hoping for.
Lisa: Let's talk about the structure for a Lifeline game. Branching choices can quickly lead to a very complex structure unless you create small branches that loop back to a main narrative, and/or employ the use of stats to track choices. How do you plot out the varying narratives in Lifeline?
Dave: The "complex structure" that you mention is something I ran into very quickly when I was working on the first Lifeline. Even when you only provide binary choices -- which, so far, is all we've done -- those branches can quickly grow out of control as each one doubles, then doubles again, until from a single node you've created a mountain. I had to train myself to weave the elements back together, to keep things from ballooning out of control. When I took on the original assignment, I thought, "Oh, this will be just like writing a short story." But it's not; it's like writing thousands of very, very short stories, of a few sentences each. It took me a painfully long time to make that distinction, but once I did, I was able to realize where I'd gone wrong, and start to plot out "nodes" where the threads were drawn back together. That made my work so, so much easier.
I'm not a coder by nature. I use Twine as the basis for these games (and then a lot of proprietary processes happen afterward, most of which are beyond my comprehension), and in that program I do my best to branch and reconnect smoothly. It's a tremendously useful GUI for people like me, people who need their hand held throughout the process. No matter how carefully I've plotted things in advance, every Lifeline game has led me in unexpected directions; the story that wants to be told is, without exception, better and more interesting than the story I lay out at the beginning. I trust those feelings, trust that when Taylor or Arika or whomever pulls the narrative in an unintended direction, that I'm getting a real sense of what the story should be, instead of forcing it down avenues that aren't true to the characters. (This, by the way, is a fantastic way to drive the rest of the development team insane.)
Lisa: What's an example of a node? Also, did those driving the process have a sense of what came before so you weren't all reinventing the wheel? What you're describing here reminds me of the awesome discussion over at Choice of Games, where they do a great job of teaching newbies how to avoid this kind of ballooning while preserving the need for meaningful choices.
Dave: I think of nodes as "have-to" moments in the game. If, say, by the end of a day, Arika has to learn a certain piece of info, encounter a certain prop, have an opportunity to eat, and fight a specific foe, then I have four nodes for that day. If she can't move on without acquiring an object or having a conversation, then I know that, no matter how wildly things balloon, all roads must lead back to a single point. The order in which they're encountered may or may not matter, but generally speaking, these are the crucial passages; the Player's decisions upon hitting these nodes will have a major effect on what follows in the game.
Lisa: How many different endings could players get in a typical Lifeline game? How do you make sure those endings make sense for the previous choices made in the game?
Dave: Generally, there are a few deaths along the way. These are paths where the Player has made an egregious mistake, or else has willfully decided not to aid the protagonist. Those are, of course, the "bad" endings -- no one should be proud of killing their hero. Then there are the "good" endings, where the Player has done most things right, and has achieved an ending that is satisfactory, although not the best one could hope for. The hope is that the Player will feel good about these... but will still have a nagging sense that they should return to the game, and work for the best possible ending. And we'll tell you when you've achieved that; we want Players to know when they've gotten all the items, or defeated all the villains, or done the best they can. I write stories with Pyrrhic victories, sometimes -- blame Inside UFO 54-40 -- but there's always a "best" ending, and that's the canon ending that leads to the next game in the series.
Lisa: Does this ever backfire? It strikes me as different than most casual gameplay, where player character deaths are generally avoided. Do you lose some players by opting for Pyrrhic victories?
Dave: I had that fear at the outset, but to the relief of all of us, the Player reactions to character deaths seem to be a deepening of involvement, not an abandoning of the game. It seems to largely be the case that, if a Player loses Taylor by pushing the character too hard or by supplying incorrect information, there's generally a sense of culpability in the death that makes the Player want to try harder the next time. I've seen dozens, maybe hundreds, of people on social media expressing genuine grief and sadness over character deaths in the Lifeline games.
Lisa: (This last one's for my stepson, who loved the first game when it went viral at his high school a few years ago.) You set up Taylor as a gender-neutral character, an interesting choice. Can you talk about your reasons for that? My stepson notes that most of his classmates assumed Taylor was either female (most of the women did this) or split evenly between male or female (mostly guys).
Dave: The gender-neutrality of Taylor's character came from Three Minute Games, but I thought it was a fantastic idea. At that time, it was easier than I thought it would be to write such a character -- when gender signifiers are removed, you realize how similar a kick-ass male and female protagonist actually are. It's grown increasingly difficult, as Halfway To Infinity introduces a doppelgänger Taylor, to keep the pronouns correct -- but I'm happy to face down that challenge. Seeing so much fan art for the character has made me realize just how much room we've left for interpretation. I don't consider that there's a "right" answer at all. People who know me have told me that they see a lot of me in Taylor... but for every argument for "male," I see another one, just as convincing, for "female." I love that I don't have a definitive answer. I hope that I never do. I hope that I can continue to write a character that resonates with everyone who reads it.
You can download the game to your favorite device. See the Big Fish Lifeline page for more info.
Here are three games on my to-play list this winter, and I hope to bring you some of these developers as guests on the blog in the future, too. This month I'm looking at interactive fictional mysteries with a common theme, that of isolation and connection.
Firewatch by Campo Santo
Firewatch is a mystery set in the Wyoming wilderness, where your only emotional lifeline is the person on the other end of a handheld radio.
The year is 1989.
You are a man named Henry who has retreated from your messy life to work as a fire lookout in the Wyoming wilderness. Perched atop a mountain, it's your job to find smoke and keep the wilderness safe.
An especially hot, dry summer has everyone on edge. Your supervisor, a woman named Delilah, is available to you
at all times over a small, handheld radio—and is your only contact with the world you've left behind.
But when something strange draws you out of your lookout tower and into the world below, you'll explore a wild and unknown environment, facing questions and making interpersonal choices that can build or destroy the only meaningful relationship you have.
Lifeline: Silent Night by 3-Minute GamesThe hearts and imaginations of countless players worldwide were captured when the original Lifeline took the App Store by storm and became the #1 Top Paid Game, and now Taylor needs your help again in Lifeline: Silent Night! Acclaimed author Dave Justus returns with a suspenseful new story that plays out in real time, delivering notifications throughout your day. Keep up as they come in, or catch up later when you’re free. You can even respond to Taylor directly from your Apple Watch or iPhone lock screen without launching into the app. Your choices shape the story as you play. Simple actions can have a profound effect. Complete any single path in the game and then go back and see what happens when you make a different choice. Lifeline: Silent Night is a deep, immersive story of survival and perseverance, and it’s up to you to save the White Star before it’s too late for its intrepid crew. The fate of Taylor, and the world, is in your hands!
The 39 Steps by The Story Mechanics
Prepare to experience the original man-on-the-run thriller in a completely new way. In this digital adaptation by The Story Mechanics, be transported back to 1914 London, where Richard Hannay finds himself framed for a murder he didn't commit. Now he must escape the Capital and stay alive long enough to solve the riddle of The 39 Steps. There are secrets to be discovered, locations to be explored and - above all - an incredible tale to be told in this ground-breaking interactive novel.
Merry Christmas! I wish you hours of joyful play.
In this regular blog series, guest authors discuss the motive behind their latest books--or in this case, games. Maybe that’s the motive for murder in the traditional mystery sense, but writers will share some aspect of motive in their works without spoiling the plot. For example, rather than focusing on the killer, what is the protagonist’s motive? This could also be the author’s motive for writing the story. Why this story? Why now? Contributors are free to explore “motive” in all of its connotations.
When it comes to Interactive Fiction, where reader choice matters, motive is a little more up-for-grabs. If you were a nerdy kid like me in the 80s, you remember Choose Your Own Adventure books, with multiple endings and reader choice all the way through. This form enjoys a vibrant life online today, as in Rebecca Slitt's Psy High.
What’s the motive in Psy High? It’s whatever you decide it is.
Psy High is an interactive novel: on the border between a book and a game. As in all of the titles from Choice of Games, you the reader direct the action at every turn: you decide what the main character does and why. Not only that, but you get to choose the main character’s name, gender, orientation, personality, and goals.
The story in Psy High is a mixture of mystery, romance, and supernatural elements, inspired by “Veronica Mars” and “Buffy the Vampire Slayer.” You play a teenager with psychic powers – clairvoyance and telepathy – who uses their gifts to solve mysteries. When an old friend asks you to investigate why your classmates are acting strangely, you discover a plot that could put the whole school at risk. You have to maneuver around your teachers, parents, and even your friends while using your magical abilities to uncover the truth – not to mention going to class, trying out for the drama club play, and finding a date for the prom.
The culprit has their own motive, but you figure that out – along with the culprit’s identity – fairly early. The more complicated question is: what's your motive? When you discover what's really going on in your high school, what do you do about it, and why?
Maybe you’re motivated by altruism: you want to do what will help the most people. That’s a noble goal, but it’s not always easy to figure out how to reach it. What helps one person might hurt another.
Maybe you’re motivated by affection: you see how all of these issues are affecting your friends and want to help them. Maybe you want to help your boyfriend or girlfriend, or do whatever it takes to make them happy, or just spend as much time with them as possible. The prom is coming up, after all, and what could be more important than that?
Maybe you’re motivated by power. There’s plenty of power to be had, both magical and otherwise, and plenty of secrets to uncover. Do you care about that more than you care about your classmates? More than going to college? More than anything?
Maybe you’re motivated by a desire to fit in. In high school, what’s worse than being different? You can try to reject your magical power, act like every other kid, keep your head down, study, and try to lead a perfectly ordinary life.
Or, maybe you think that the villain isn't such a villain after all. Maybe you realize that you share their motive: you think that their plan will make the school a better place, not worse. That’s possible, too. You can team up with them and use your magic to help them.
What this all means is that you get to choose the kind of story that you’re participating in. It can be a story about love conquering all: You can find your true love and draw on the strength of that bond to triumph over whatever challenges come your way. It can be a story about discovering deeper truths about yourself and the world: learning what you truly care about, what your values are, and how far you’ll go to defend them. It can be a story about rebellion: breaking every rule, fighting the power wherever you find it, showing the world that you’re your own person. It can even be a story about failure: No matter how strong or noble your motives are, there’s no guarantee that you’ll succeed – so if you fail, what meaning will you draw from that?
There are dozens of stories to be told inside the mystery of Psy High, each with its own motive. You get to choose which story you want to tell.
Download and review Psy High.
Follow Rebecca Slitt on Twitter.
Rebecca Slitt is an academic-turned-game-designer who uses her knowledge of medieval history to make sure that dragon battles follow the principles of chivalry and time travelers go to the right places in medieval London. She is an editor and author for Choice of Games, and has contributed to the tabletop RPGs Timewatch and Noirlandia.