© FOLIO '24
RACH SARRA
My local time –
GMT (-3:00)
© FOLIO '24
RACH SARRA
My local time –
GMT (-3:00)
© FOLIO '24
RACH SARRA
My local time –
GMT (-3:00)
Tags
Game design
Narrative design
UI/UX design
Entertainment
videogame
© 2019
Uncovering a haunting mystery.
Before, there was Ava is a story-rich indie adventure game about friendship, self-discovery, and a disturbing truth.
Investigate a mystery as you explore an eerie farm, meet peculiar people, and delve into why Kiska is behaving unlike herself.
Uncovering a haunting mystery.
Before, there was Ava is a story-rich indie adventure game about friendship, self-discovery, and a disturbing truth.
Investigate a mystery as you explore an eerie farm, meet peculiar people, and delve into why Kiska is behaving unlike herself.
Uncovering a haunting mystery.
Before, there was Ava is a story-rich indie adventure game about friendship, self-discovery, and a disturbing truth.
Investigate a mystery as you explore an eerie farm, meet peculiar people, and delve into why Kiska is behaving unlike herself.
A passion project for Guilherme and I.
This project came to life because of our frustration with the predictability of horror films. We started investigating what entertainment is and why the regular use of clichés can ruin the experience.
We discovered that the unexpected in itself is a pleasant event. If it's the expectations set by the user that lead to surprise, breaking them is capable of generating highly satisfying experiences. We aimed to create a game detached from the clichés and stigmas prevalent in entertainment, breaking the expectations of what the user believes to be expected, mainly how he interacts with the medium.
Recognizing the impact of entertainment on society's perception of specific subjects, we chose Dissociative Identity Disorder as a theme. DID is commonly misrepresented by the media that perpetuate harmful stigmas with the mere desire to create more exciting narratives. This provides us with the opportunity to offer a good representation while having a significant impact on the player who lives the story, rather than just watches it. Besides, in a certain way, not following the stigma created by media in itself is breaking the player's expectations.
A passion project for Guilherme and I.
This project came to life because of our frustration with the predictability of horror films. We started investigating what entertainment is and why the regular use of clichés can ruin the experience.
We discovered that the unexpected in itself is a pleasant event. If it's the expectations set by the user that lead to surprise, breaking them is capable of generating highly satisfying experiences. We aimed to create a game detached from the clichés and stigmas prevalent in entertainment, breaking the expectations of what the user believes to be expected, mainly how he interacts with the medium.
Recognizing the impact of entertainment on society's perception of specific subjects, we chose Dissociative Identity Disorder as a theme. DID is commonly misrepresented by the media that perpetuate harmful stigmas with the mere desire to create more exciting narratives. This provides us with the opportunity to offer a good representation while having a significant impact on the player who lives the story, rather than just watches it. Besides, in a certain way, not following the stigma created by media in itself is breaking the player's expectations.
A passion project for Guilherme and I.
This project came to life because of our frustration with the predictability of horror films. We started investigating what entertainment is and why the regular use of clichés can ruin the experience.
We discovered that the unexpected in itself is a pleasant event. If it's the expectations set by the user that lead to surprise, breaking them is capable of generating highly satisfying experiences. We aimed to create a game detached from the clichés and stigmas prevalent in entertainment, breaking the expectations of what the user believes to be expected, mainly how he interacts with the medium.
Recognizing the impact of entertainment on society's perception of specific subjects, we chose Dissociative Identity Disorder as a theme. DID is commonly misrepresented by the media that perpetuate harmful stigmas with the mere desire to create more exciting narratives. This provides us with the opportunity to offer a good representation while having a significant impact on the player who lives the story, rather than just watches it. Besides, in a certain way, not following the stigma created by media in itself is breaking the player's expectations.
Crafting a narrative: identity and the player's journey.
We approached the story by starting with the end in mind, focusing on the outcomes we wanted for the player and then working backward to develop the main plot and characters. To ensure maximum immersion within the magic circle, we intentionally made the player's character neutral and ambiguous. We avoided depicting DID from a first-person perspective, acknowledging that it's not our reality and therefore beyond our ability to portray authentically. In this context, the player isn't the main character but rather a companion on the protagonist's journey.
The story itself revolves around the main character Kiska and the trauma that led her to develop DID. The player has to navigate his friendship with Kiska, getting to know her 7 alters and trying to figure out how this eerie farm they stumble upon relates to her past. At the same time, it is about respecting boundaries, the impact of your choices, the importance of platonic relationships, and investigating a thrilling mystery about a creepy cult.
Crafting a narrative: identity and the player's journey.
We approached the story by starting with the end in mind, focusing on the outcomes we wanted for the player and then working backward to develop the main plot and characters. To ensure maximum immersion within the magic circle, we intentionally made the player's character neutral and ambiguous. We avoided depicting DID from a first-person perspective, acknowledging that it's not our reality and therefore beyond our ability to portray authentically. In this context, the player isn't the main character but rather a companion on the protagonist's journey.
The story itself revolves around the main character Kiska and the trauma that led her to develop DID. The player has to navigate his friendship with Kiska, getting to know her 7 alters and trying to figure out how this eerie farm they stumble upon relates to her past. At the same time, it is about respecting boundaries, the impact of your choices, the importance of platonic relationships, and investigating a thrilling mystery about a creepy cult.
Crafting a narrative: identity and the player's journey.
We approached the story by starting with the end in mind, focusing on the outcomes we wanted for the player and then working backward to develop the main plot and characters. To ensure maximum immersion within the magic circle, we intentionally made the player's character neutral and ambiguous. We avoided depicting DID from a first-person perspective, acknowledging that it's not our reality and therefore beyond our ability to portray authentically. In this context, the player isn't the main character but rather a companion on the protagonist's journey.
The story itself revolves around the main character Kiska and the trauma that led her to develop DID. The player has to navigate his friendship with Kiska, getting to know her 7 alters and trying to figure out how this eerie farm they stumble upon relates to her past. At the same time, it is about respecting boundaries, the impact of your choices, the importance of platonic relationships, and investigating a thrilling mystery about a creepy cult.
Designing immersion: visual storytelling and aesthetics.
The visual aspects of the game were thought to strengthen the story and its aesthetic. It guides the player, indicating what's essential and encouraging them to keep on investigating. The interface follows a minimal design to guarantee immersion in the game, while elements such as the speech bubbles symbolise aspects of each character's personality and speech patterns.
When it comes to concept art, we were lucky to have had the help of the amazing Monique Alencar (a.k.a Nickyzilla).
Designing immersion: visual storytelling and aesthetics.
The visual aspects of the game were thought to strengthen the story and its aesthetic. It guides the player, indicating what's essential and encouraging them to keep on investigating. The interface follows a minimal design to guarantee immersion in the game, while elements such as the speech bubbles symbolise aspects of each character's personality and speech patterns.
When it comes to concept art, we were lucky to have had the help of the amazing Monique Alencar (a.k.a Nickyzilla).
Designing immersion: visual storytelling and aesthetics.
The visual aspects of the game were thought to strengthen the story and its aesthetic. It guides the player, indicating what's essential and encouraging them to keep on investigating. The interface follows a minimal design to guarantee immersion in the game, while elements such as the speech bubbles symbolise aspects of each character's personality and speech patterns.
When it comes to concept art, we were lucky to have had the help of the amazing Monique Alencar (a.k.a Nickyzilla).
