- After downloading, unzip the file
- After unzipping, find the [application] and double click on it
- [ESC] to exit the game & open the game settings
The game moves from its first level, set on a depressing and lonely night home after work in 2021 London, to the second level which presents a quiet and pleasant childhood home in Xinjiang from school in the year 2000 in my hometown, to the third level which virtualizes peace of mind in a natural environment.
The whole game aims to create a sense of 'déjà vu' and also conveys the desire of young people living alone under the pressure of the city to 'return to their values', as Chakameh (2019) said “Giving mind and body a break by providing them with familiar places, routes, and paths is one way of being rooted. It opens up mental and emotional space for magic.” Over the course of the project, ‘Homeward’ explores how games can resonate with audiences through ordinary personal experiences in the same way as film narratives have done for decades now. This essay is focused on the oretical exploration of the emotional needs of the target players, seen from a sociological point of view. It will also consider the motivation behind the selection of the topic and the composition of the game’s graphical elements from a psychological and philosophical point of view, and will close on a number of case studies examining existing examples of games similar in nature to ‘Homeward’.
London/2021/Night
Gameplay: The player stands on a street that needs to have an urban feel with London elements and tall buildings, with some vehicles on the road. The player is free to walk around this street collection light sources from under the street lights. There are only five street lights on either side of the road that are particularly bright. The player needs to walk past them to collect the light source from the street light; by standing under them. Cars and pedestrians on the road may move. The light source can be collected from one side of the road or from both sides. The scene turns black after all light sources are collected.
Hometown/2000/Afternoon
Gameplay: The player stands in the alleyway of a Chinese town at the same angle, the town's buildings are not very high and the light collected in the first scene needs to be placed on a street lamp to inspire a scene of back home when completed.
Forest/Daytime
Gameplay: The player stands in a natural scene where there are some floating fireflies producing yellow light. You will need to capture there light sources as the darkness of the city has "chased" here. The only way to stay in nature is to capture the light sources, after capturing all five, the light sources will rise into the air and towards the sky turning white. Then a dialogue and a series of choices appear.
With the progress of the times, we pursue stimulation; we need to make a living, fulfil our dreams, work hard, dare not stop, and more and more people come to big cities. Neon lights flicker, tall buildings stand tall and look up, and the city and the sky merge into one.
Shuttle through the crowd every day and drag your tired body home at night. This is a step that every dreamer will go through, even though you are in a fast-paced city. Enter the game, cross the city on the way home and return to the relaxing original environment.
Trough candid conversations with individuals navigating the bustling streets of big cities, we aim to gain insights that shape the development of 'Homeward,' a game designed to address the emotional needs of this vibrant demographic. Walk with us as we uncover stories that inspire and inform our quest for inner peace in a fast-paced world.
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Features of the game mechanics
Catching light points - Placing light points - Finding fireflies The use of street lights is a metaphor for direction in the game, and their use in the scenes assumes the effect of an interaction point on the one hand, as in previous interviews many users would say that what inspires deja vu is the discovery of a similar or familiar object, and that street lights are the similarities in the first and second scenes, on the other hand the effect of the lights can make the ambient light of London at night in the scenes more realistic. Collecting enough energy to move on to the second scene, which is more of an energy-draining process of placing lights. In the third scene, the catching of fireflies is a natural point of light, and the image of 'light' in the scene represents the emotional needs of the heart.
While working on the UI part of the game I realised that theUI in the game is such that the player is not aware of the UI.Giving the player the most needed cues where they are mostnecessary and in the least intrusive way. Making the screeninto space and giving back the game world. As I deliberatelychose not to have a complex set of game mechanics, theneed for that many text and icons was not required.
The environment narrative of the previously analysed journey reflects a profound connection to nature and a retreat from the urban hustle and bustle. It serves as a sanctuary for players to immerse themselves in the tranquillity and beauty of childhood memories, offering respite from the pressures of modern society. Through lush landscapes, serene soundscapes, and immersive visuals, the environment narrative invites players to rediscover a sense of inner peace and emotional fulfilment amidst the chaos of urban life. It embodies a journey of self-discovery and healing, where players can explore and connect with their deepest emotions, ultimately finding solace in the embrace of nature.
An animated tube station, Elephant & Castle, during rush hour at the end of the day wasused highlighting London's distinctive transport system. The sounds of the station werecaptured during rush hour, paying attention to some details to convey that the first scene isset in the present
I found photos of my grandparents' house where I lived as a child, when symbolic combination sofas and combination cabinets started to sell, and the people's decorating style was given a major upgrade, but all the furniture was "durable"and the living space had been subdivided, with more emphasis on privacy in the bedrooms.
