Social Game - Finding Nemo
MEMBERS: CONNOR, ANGELO, PETE, LOUIS, LOUIE.
For our Social Game, I’ve come up with a couple of games; Finding Nemo is the first.
Finding Nemo is a social game where many people, preferably a minimum of 10 participants (can be played with less but a slightly different game mode). There is one Game Captain/Umpire who isn’t involved in the game itself. The Umpire controls the game and chooses who is who and asks the all-important questions at the end of each round.
OBJECTIVE: Nemo is missing!! You need to find Nemo by asking “Are you Nemo?” to everyone playing. You’ll need to ask multiple times because Nemo is too scared to remember who he is at the start…
RULES: Everybody (that isn’t the umpire) stands in a circle with their eyes closed and the umpire will choose 4 characters at random. These Characters are:
Nemo (The Clownfish): The main protagonist, Nemo is who everyone is searching for. Once asked, “Are you Nemo?” 5 times, he must then say “yes” and everyone else must stand in a “conga-like” line with their hands on the person’s shoulders with Nemo being at the front.
Bruce (The Shark): “Hello…..Name’s Bruce.” Bruce; the shark is hungry and sees this situation to be the perfect time to feed! Once everyone has lined up, the fish, both in front and behind Bruce are in danger off being eaten but can be saved by Nigel (see below). Another thing is Bruce will secretly go around similar to everyone else and ask the question “Are you Nemo?” however after being asked 7 times, he can then say “Yes”, similar to that of Nemo after being asked 5 times (This can cause suspicion to if Nemo is at the front or not).
Nigel (The Pelican): Nigel has a large mouth that can pick up fish but only one, meaning that whoever is chosen to be Nigel can choose either the fish in front or behind Bruce to save but it’s random because Nigel won’t know who Bruce is and there who is in danger…
Crush (The Turtle): Crush is a chilled out, 150-year-old Sea Turtle who has been around for long enough to know that danger is around. Crush has the ability to say who they think Bruce is (without being told) and if guessed right, no one gets eaten.
An example: Players A, B, C, D, E, F, G, H, I and J are playing a game and K is the game Umpire. players A - J stand in a circle with their eyes closed and K announces “I’m now picking Nemo” and K will tap someone silently on the shoulder (let’s say it’s player A). Bruce (B), Nigel (C) and Crush (D) will be chosen in this way but individually.
Once all 4 have been chosen, K will say “open your eyes and Go and find Nemo!” The other players, keeping their identities secret, will ask the question “Are you Nemo?” to whoever they come across and then move on once they’ve heard an answer which will be “No.” (you can ask the same person more than once but not immediately after).
After Nemo (A) has been asked 5 times, he will answer “Yes.” (Bruce (B) will answer “yes” after 7 times), whoever asked Nemo will grab their shoulders from behind (preferably subtly so everyone has to pay attention) then, everyone else will stand in a line with their arms on the person in front of them’s shoulders, A at the front, E behind with his hands on A’s shoulders, J behind E with his hands on E’s shoulders, etc.
Once everyone is in the line, K will ask Crush (D) who they think Bruce is, D will answer. K will then ask Nigel (C) who they would like to save “in front or behind Bruce?” They will answer. K will then ask Bruce to reveal themselves. If D was right then Bruce is out but if D was wrong then whoever C didn’t save is out.
The game then repeats with one less player until 3 people are left.
WILDCARDS:
Wildcards are little ways of playing the game that make it more fun, challenging or different. These can be made up but here are a few examples:
- Silent Mode - No players except for the Umpire may speak but there should be a punishment for those who do.
- Blind Mode - This Wildcard is tricky but you must go around with blindfolds or eyes closed the whole game.
- Out of Breath - Players may only speak when off the ground, how you get off the ground is up to the player.
Design Statement:
We probably found the development of our social game to be the most entertaining. The person who actually put forward this concept used a demographic of younger children aged 7+, as he spent a large duration of his summer at Camp America. We loosely based ‘Finding Nemo’ off of a well-known game,‘Werewolf/Mafia’. However we only took small bits of inspiration from them, most elements in our social game came from the ideas of our group and through playtesting or feedback.
Initially, the way that Bruce (The Shark) worked in our game was that when it came to his feeding phase when everyone was lined up, he would eat everyone behind him. This was a somewhat flawed mechanic because if the group playing wasn’t too big, then games would not last that long. This worked out okay only in the event that large groups were participating in the game. We handled this issue by balancing out how Bruce works, he now only puts the people in front and behind at risk of being eliminated from the game.
Following on from that, Bruce’s balance came up as a recurring issue. The early stages of ‘Finding Nemo’ only had Nemo (The Clownfish) and Bruce as specific roles, through playtesting we noticed that every round played out far too similar to the last - making the game a bit too repetitive. Therefore, we came up with the idea of adding in roles that players took to affect how many people Bruce eliminated in a certain round.
Initially, the only role implemented to do this was Crush (The Turtle). The purpose of his role is to stop Bruce from eliminating anyone that round. You’re probably asking why we added Crush in, as surely he makes Bruce completely useless? The answer to that is yes, but we balanced the ability overall. The only way that Crush can stop Bruce from eating anyone is if he can guess the identity of the player who is playing Bruce that round…..which is someone completely random. This means that every couple of rounds, players could be lucky enough to get saved from whoever is Bruce (also eliminating that individual).
Now, that leads me on to the next addition we made. Crush could only take advantage of his ability every few rounds, as it would be hard to consistently guess who Bruce is. Hence why we introduced the role of Nigel (The Pelican). Just before Crush tries guess the identity of Bruce, the person with the role of Nigel has a chance to affect who Bruce eats and eliminates. He gets to say whether he would like to save the person in front or behind Bruce, saving them from elimination. One thing to also bear in mind is that not even Nigel knows the identity of Bruce, therefore that person may even be saving themselves from being eaten! The reason that we labelled this role as Nigel is that in the actual movie - he swoops into the water, saving Marlin and Dory - pushing across a saviour type of persona, like the purpose of the role in our game.
These additions mean that the order of play within a round begins with lining up behind Nemo, Nigel saying which person he would like to save, and then Crush taking a guess at who Bruce is. Once these things are done Bruce reveals who they are, if the guess made by Crush is correct then no one is eliminated and Bruce is out of the game, however, if it is incorrect Bruce eliminates the person that Nigel didn’t save.
Conclusively this now means that the threat that Bruce initially introduced has been reduced, making him more of a balanced role since he is at a slight risk of being eliminated himself. An added bonus too was that it added more variety to the players taking part when playing, and also extended the time that it took to play the game from start to end.
The next point I would like to elaborate on is that after we balanced all the roles out we proceeded to do some more playtesting. One thing was recurring, after playing through quite a few times we noticed that the gameplay element was solid however it started to get a bit repetitive. Some people started to lose interest. We felt like one of the best ways to mix it up was to introduce a different or unique style of play - wildcard rounds. For example, one wildcard round that was thrown in was the ‘Silent round’. In this round, no players can communicate through means of speaking (like in a regular round), those who do face instant elimination from the game. Players can only find out who Nemo is through the shaking or nodding of their head after they get said person's attention. The other two wildcard rounds developed are titled ‘Blind’ and ‘Out of Breath’ rounds.
The final improvement I will discuss is to do with how we changed the distribution of roles across the group of players. In early stages of development, we had all the players shut their eyes, then the umpire would randomly assort roles by tapping people on their shoulder. The dilemma with this was that some players may ruin the fun element of the game by secretly looking at who was being assigned these roles. Therefore we decided to come up with a solution, making it a lot harder for cheaters trying finding out this information. All we simply did was firstly make “Round Cards” for the umpire to use, making him/her randomly select whether the upcoming round would be a regular or wildcard one. Lastly, we introduced “Role Cards” which the umpire also dealt to all players, randomly assigning them the roles of Nemo, Bruce, Nigel and Crush. Those who didn't get these cards just got a regular “Fish” card - essentially making them a bystander for that round. One quick thing to mention is that these cards also prevent the umpire from making bias decisions on what rounds to do and what roles people are assigned.
I hope you all enjoy playing but as always...Happy Gaming
Pictures from Finding Nemo
This was taken from early stages of development - all players are closing/covering their eyes before being assigned roles.
In this image Bruce can be seen revealing his identity.
You can see the sheer disappointment of the person behind Bruce - they just realized they have been eliminated.
4 notes
·
View notes
Once upon a time, there was a little girl named Jessica. She was born to two parents who should have loved her, the youngest of a trio of little girls who were all used as a way for their parents to make an extra amount of cash.
One day, the eldest of them - Betty - ran away to her grandmother’s house, where she told what could only be lies. The police investigated, but nothing came up. Their parents grew careful at hiding their marks. Everything continued as it had.
But the grandmother listened to Betty and began to unravel what was happening to her grandchildren. Although the police might not listen to a young girl, they listened to the grandmother and began to pull threads from various sources until, finally, they were prepared to make a bust.
One of the sources told Jessica’s parents. The mother took care of her sisters’ bodies while the other poured bleach down his youngest daughter’s throat. When the police arrived, she was still alive - but barely. The parents were thrown into jail and Jessica, the last of the siblings, was taken in by her grandmother, who meant to raise the girl as her own.
But Jessica was young, and the young do not always deal with trauma well.
“Thank you for meeting us today.”
Jessica doesn’t listen but tightens her hold on her grandmother’s hand, eyes wide in the open blue space.
“It wasn’t a problem.”
The other voice is gruff, and Jessica looks up at the tall man, startled. He tries to smile at her, but she thinks and it’s another smile she sees and hands at her throat, and she hides behind her grandmother’s legs, dropping her hand and peeking through at the man.
“Jessica, you don’t need to be afraid. William’s a friend.”
Jessica does not know the word, and she stops paying attention. It is safer, hiding. She lets her gaze drop, watches through her grandmother’s legs, head turning this way and that at the bright glass walls and the lights and the people standing in front of them.
Everything is so big.
Her eyes catch on someone not so big - her mind does not use the word little because she does not think of herself as little - someone maybe like her. She pulls on her grandmother’s pants’ leg and points at the other girl wordlessly.
“Go on,” her grandmother says, stepping out of the way so that Jessica has room to move. The girl looks up at her with wide eyes, and Eleanor pushes her forward a little way. “Go play. I’ll be right here.”
Jessica swallows once, winces because her throat still aches, and walks over to the other girl. She stands nearby for a moment, not speaking, then turns to her. Beneath the lights, her red hair looks purple, and Jessica touches her own where it has been left down, wonders if it’s purple, too.
She wants to speak, but doesn’t.
It takes a bit for the other girl to say anything - not because she hasn’t noticed, but because she is more concerned with the fish swimming in the tank in front of her. Eventually, she turns and fully notices the other, jumps a little at the closeness.
“Are you Jessica?”
She nods, once.
“Why didn’t you say anything?”
“Hurts.” Her voice is still raspy. Grandmother said she didn’t need her water bottle anymore, but she carries it slung around one shoulder anyway. She takes the bottle now, pours water down her throat, and it helps, but not much.
“Oh.”
Jessica doesn’t want to explain - couldn’t even if she did. Hurts can be too many kinds of pain.
There’s silence - not quite awkward, because silence between children is less awkward and this is one more born of small understandings and acceptances because children have a tendency to be better at that - before the other girl sticks out her hand.
“I’m Dana. Nice to meet you.”
Jessica takes the other girl’s hand in her own, squeezes gently. “Yes.” And by this it’s understood that she means it’s nice to meet you, too but that yes is the least painful way to put it.
Dana looks back at her father, where he is in conversation with Jessica’s grandmother, and he catches the look, winks at her. She licks her lips once and turns back to Jessica. “Have you been here before?”
Jessica shakes her head no. She hasn’t been much of anywhere nice ever, and certainly nowhere this big or blue. Her eyes are still wide when she looks at the fish in their tank, and Dana follows her gaze.
“Do you have a favorite?”
“Jellyfish.”
“They aren’t in this tank, but I know where to find them.”
Dana glances to her father again and bites her lower lip. Then she takes Jessica’s hand again, pulls her in the way children sometimes do when they’re both excited and nervous. “Come with me.”
Jessica lets herself be pulled, eyes wandering over to where her grandmother is watching. She won’t be lost. She’s safe. So she squeezes Dana’s hand again and follows, keeping with her pace until they are in front of the tank.
“Here. Told you I could find them.”
The blue lights are now interspersed with something softer, pinker, the glow of the jellyfish themselves in their tank. Jessica thinks her hair must look weird under the pink, but then she is drawn in by the jellies themselves. Her mouth drops open - and her throat twinges at the sudden stretch. She winces, pulls up her bottle, pours more water. A little better, but not much.
On an instinct, she draws nearer to the tank, breath fogging the glass, and reaches out a hand--
“They sting you if you touch them.”
“ ‘sok.” Jessica lets her hand rest on the cool glass and watches as one of the jellyfish comes closer to her. They can’t hurt too much. She watches them for a moment, before saying, “Could jump across the top. Like a game.”
“I don’t think so.”
Jessica looks back, expecting the other girl’s brows to be furrowed, but instead seeing a much more exasperated expression. She tilts her head to the side, questioning, and the other comes forward, lays her finger on the glass - no tapping because that scares the inhabitants.
“We’re too big.” Dana points to the size of the tops then glances down to their tiny feet. “We’d pop them, and they’d sting us.”
“If we were smaller?”
“We’re not.”
Jessica nods again, once, pours more water down her throat. She’s not even really drinking, is still afraid to really swallow anything, but if there’s too much, it forces down. The ice helps. She glances back - away - and catches sight of her grandmother. The older woman notices, makes a shooing, go on gesture, and Jessica turns back.
She looks at the jellyfish and thinks they wouldn’t really hurt her.
She’d have to be human for that.
It’s while seeing the sharks that it becomes more apparent - Jessica hadn’t thought there’d be sharks here, and she doesn’t stand as close as the other girl, eyes scanning the creatures until one seems something like familiar. Then she half sprints up, full against the glass, head turned just so, and she waves at the shark as it swims by.
“That’s Bruce!”
Dana follows the other’s glance, looks at the placard on the wall. “How do you know?” The question careful - not excited as another child might be, needing some sort of explanation.
“I know him.” Jessica forgets the rasping in her voice, and in her excitement, it sounds strained. “From Nemo. The others are all scared of him.”
A pause and Dana looks down, back, at her father, then to her hands. “That’s not real.”
“Is so.”
“That’s a cartoon. They’re not real.”
“I’m real.”
“You’re not a cartoon.”
“Am so.”
Dana blinks once. She turns back to the grown-ups for some sort of help, but they’re talking, not listening. Her eyes focus on the other girl, the crazy one. “Prove it.”
“ ‘m alive.”
“So am I.”
“Yeah, but you haven’t lived through stuff only Toons do.” Her throat aches, and she pours more water. It doesn’t help, so she tries more. This is important. She has to explain this right. “Toons get hit and keep coming back. They drink fire and don’t die. No matter how much you hurt them. So. I’m not dead. I gotta be a Toon.”
“I don’t think that’s how that works.”
Jessica is flustered. She tries to take another gulp of water, to try and explain better, but her bottle is empty. It hurts to speak.
Dana takes her hand again, pulls gently. “C’mon.”
They pass a water fountain, and Dana stops. Jessica takes the opportunity to drop hands, to fill her bottle, to try and cool her throat. Nothing is helping. When she returns, she can’t help but ask, “Where--?” She cannot finish the sentence.
“Trust me.”
The phrase scares her, but Jessica nods once.
They come to a stop in front of the jellyfish again, and Jessica looks to Dana, blinking, confused. Dana takes the hand in hers and presses it to the glass. “These are real.”
“So ‘m I.”
“No.”
“No?”
Dana shakes her head once - that isn’t what I meant - and starts again. “Look.”
Jessica follows her gaze, looks, sees nothing.
“Toons are flat.” Dana presses her lips together, struggling to find words to fit what she knows to be true. “The jellyfish are real.”
“They’re like Bruce. He’s not flat.”
“Is. Skin’s all flat. You can’t feel him.” Trying, trying. “A real shark has rougher skin.”
“So?”
That exasperated look again - she’ll perfect it when she’s older - and she tries again, takes Jessica’s hand in her own. “Look.” She turns her own hand over in Jessica’s, has the other run fingers along her palm. “It’s rough.” A pause on one patch of skin. “Dad says they’re callouses. Like blisters, only they make you stronger.”
“So?”
“They’re real. Toons can’t get them.”
Jessica nods once, accepting this, because she cannot think of a Toon with callouses.
“You’ve got one, too.”
“No.” Immediate denial. Jessica knows every inch of herself - she’s been told by her older sisters to keep track of everything, document it, and even now she’s been keeping track of all the changes, even if there’s no longer any reason for it. “Don’t.”
“Do.” Dana tries to take Jessica’s hand in her own again, but Jessica flinches away. Now her brow does furrow, lips pressed tight together. “From your bottle. There is one. I felt it.”
Jessica’s eyes widen - that crippling sense of fear - and she begins to raise her hand to check.
There’s a ding, and a voice familiar to Jessica overhead: The Marine Life Institute is closing in fifteen minutes. Please finish up your visit and start heading to the exits.
Dana hears nothing, follows Jessica’s glance up, sees nothing. “What?”
“Sigourney Weaver.” She winces, takes the water bottle, tries to pour more water down her throat. It’s hot; the ice is long gone. “I’ve got to go.” She scampers away to where her grandmother is with the other man and looks up at the woman, heart tight. “Scared.”
“Do we need to leave?”
Jessica nods once, turns back to where Dana is staring at her, then back, nodding again, rapidly.
Her grandmother picks her up in her arms - winces at the pain in her lower back - and Jessica hides her face in the crook of her neck. Eleanor smiles at her friend. “I’m sorry, William. My Jess is a little--”
“Don’t apologize. I’ve seen men fare far worse.” He bends down, pats Jessica on the head, and she flinches. His eyes meet Eleanor’s. “She’ll do fine.”
“Maybe.” Eleanor turns to look at the girl still standing in front of the jellyfish tank, watching them but not moving, her lips pressed tight together, brows furrowed. “Dana seems like a good kid.”
“She is.”
Jessica whimpers, curls closer.
“Yes, yes, I know.” Eleanor tries to smile. “Maybe we should do this again sometime. It was nice catching up with you.”
It is adult talk, and Jessica stops listening. She turns to face the other girl again, blinks once. Their eyes meet, and she can almost see the frustration hovering around her - something black and red, like her dad was. See? Only Toons could see emotions like colors like that.
She is too scared of the other’s anger to stick her tongue out at her, but the impulse is there.
When her grandmother turns to leave, Dana waves at her. Jessica doesn’t understand this. Black and red does not mean waving or nice. She thinks for a moment, then starts to check her hand again.
The same dinging, the same voice overhead, and she is glad she is leaving, they really should go.
She does not remember any of this when they meet again - has nothing to connect the girl from her childhood to the federal agent who sometimes drinks with her even though she knows she makes her nothing but uncomfortable, has even less to connect her with the only person she will ever consider a true friend, cannot tie the confusing blacks and reds with the golds and cerulean that she becomes.
Dana takes her to the aquarium, and for a moment she feels like a child again - not the pain in her throat, but the sort of innocent excitement that she would have had if she’d been normal. It’s the same sort of pride - Dana finding the jellyfish - and Jessica, on an impulse, steps forward, remembering, almost.
“These,” she murmurs, breath fogging the glass, “are real.”
She removes one hand from the glass to look, nail catching on the callous there.
4 notes
·
View notes