Epic Game Design Document v.

05
by Jeruviel Stardust
 Contents

I The Big Picture

1. Executive Summary
1.1. Audience
1.2. Instructional Goal
1.3. Performance Objectives
1.4. Instructional Strategy
1.5. Game Evaluation

II Game Mechanics
2. Overview
2.1. Inside/Outside
2.2. Camera
2.3. In-Game GUI
2.4. Storytelling & Saving
2.4.1. Single Player, Multiplayer, Iterative Development
2.5. Dialogue & Story
2.6. Control Summary
2.7. General Movement
2.7.1. Moving in a Direction
2.7.2. Variable Movement Modes and Speeds
2.7.2.1. Standard Walk
2.7.2.2. Chain Gang
2.7.2.3. Forced March
2.7.2.4. Jog
2.7.2.5. Run
2.7.2.6. Sprint
2.7.2.7. Crawl
2.7.2.8. Climb
2.7.2.9. Swim
2.8. Subtle Bodies Movements
2.8.1. Contiguous Astral
2.8.1.1. Flight
2.8.1.2. Passthrough Barriers
2.8.2. Standard Flashback
2.8.3. Mundane Memories Dreaming
2.8.4. Waking Vision
2.8.5. Sleeping Vision
2.9. Agents, Objects, Environment, & Relations
2.9.1. Protagonists / Player Characters

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 2.9.2. Actions
2.9.3. Dialogue Operations
2.9.4. Timelines Navigation
2.9.5. Combat & Non-Combat
2.9.6. Magic & Psychic Powers
2.9.6.1. Empathy
2.9.6.2. Psychic Prison Rebel Radio
2.9.6.3. Telepathy
2.9.6.4. Telekenisis
2.9.6.5. Pyrokenisis
2.9.6.6. Supernatural Agility
2.9.6.7. Supernatural Strength
2.9.6.8. Levitation
2.9.6.9. Portal Creation & Discovery
2.9.6.10. Matter Manipulation
2.9.6.11. Summoning
2.9.6.12. Waterbreathing
2.9.7. Looking
2.9.8. Making Friends & Enemies
2.9.9. Speaking
2.9.10. Cut-Scenes
2.9.11. Storytelling
2.9.11.1. Friends
2.9.11.2. Enemies
2.9.11.3. Radio
2.9.11.4. Signs
2.9.11.5. Dreams
2.9.11.6. Magnifications
2.9.11.7. Phrases
2.9.11.8. Keys
2.9.11.9. Symbols & Sigils
2.9.12. Levels
2.9.12.1. The Inside
2.9.12.1.1. The Cell
2.9.12.1.2. The Cafeteria
2.9.12.1.3. The Yard
2.9.12.1.4. The Showers
2.9.12.1.5. The Laundry Room
2.9.12.1.6. The Jobsite(s)
2.9.12.1.6.1. UniPorc
2.9.12.1.6.2. Valeries Secret
2.9.12.1.6.3. MacStopheles
2.9.12.1.6.4. Telekom

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 2.9.12.1.6.5. PharmaKonn
2.9.12.1.6.6. FarmaKonn
2.9.12.1.6.7. KultureKorp
2.9.12.1.6.8. GamEkon
2.9.12.1.7. The Classroom
2.9.12.1.8. The Social & Political
2.9.12.1.9. Solitary
2.9.12.1.10. The Pastor
2.9.12.2. The Liminal
2.9.12.2.1. The Mailroom
2.9.12.2.2. Visitation
2.9.12.2.3. Parole Interview
2.9.12.2.4. The Courtroom
2.9.12.2.5. The Escape / Lockup / Release
2.9.12.2.6. The Liberation
2.9.12.2.7. The Dreamtimes
2.9.12.2.8. The Visions
2.9.12.2.9. The Futures
2.9.12.2.10. Pandemonium
2.9.12.3. The Outside
2.9.12.3.1. The Outer Prisons
2.9.12.3.2. The Megaprojects
2.9.12.3.3. The People(s)
III Game Elements
3. Overview
3.1. Artificial Intelligence
3.1.1. Assumptions, Ethics, & Human Natures
3.1.2. Currencies, Economies, Money & Values
3.1.3. Corporations
3.1.4. Governments
3.1.5. Prisons
3.1.6. Wars
3.2. Characters
3.2.1. Parents
3.2.2. Siblings
3.2.3. Children
3.2.4. Ohana
3.2.5. Co-Prisoners
3.2.6. Bosses
3.2.7. Wardens
3.2.8. Judges
3.2.9. Police

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 3.2.10. Correctional Officers
3.2.11. Social Workers
3.2.12. Dentists
3.2.13. Doctors
3.2.14. Librarians
3.2.15. Teachers
3.2.16. Plants
3.2.17. Bricks
3.2.18. Microbes
3.2.19. Spirit Guides
3.2.20. Sunshine / The Sun & Sky
3.2.21. Land
3.2.22. Water
3.2.23. Non-Human Animals
3.3. Relational Discord & Dynamism
3.3.1. Collective Punishment
3.3.2. Solidarity
3.3.3. Betrayal
3.3.4. Love
3.4. Items
3.4.1. Inside Items
3.4.1.1. Prisoners Uniform
3.4.1.2. RFID Implant
3.4.1.3. Prisoners Hygiene Supplies
3.4.1.4. Prison Food
3.4.1.5. Prison Books and Other Printed Materials
3.4.1.5.1. Common
3.4.1.5.2. Uncommon
3.4.1.5.3. Rare
3.4.1.5.4. Magic
3.4.1.6. Prison Writing Materials
3.4.1.7. Electronics
3.4.1.7.1. Computers
3.4.1.7.2. Cell Phones
3.4.1.7.3. MP3 Players
3.4.1.7.4. Radios
3.4.1.7.5. Walkman
3.4.1.7.6. CD Player (personal)
3.4.1.7.7. Television Set
3.4.1.7.8. Stereo
3.4.1.7.9. Speakers
3.4.1.7.10. Wires
3.4.1.7.11. Video Games

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 3.4.1.8. Telephones
3.4.1.9. Inside Weapons
3.4.1.9.1. Soap in a Sock
3.4.1.9.2. Shiv basic
3.4.1.9.3. Shiv advanced
3.4.1.9.4. Shiv masterful
3.4.1.9.5. Poison, basic
3.4.1.9.6. Poison, advanced
3.4.1.9.7. Truncheon
3.4.1.9.8. Tazer
3.4.1.9.9. Tear Gas
3.4.1.9.10. Flashbang
3.4.1.9.11. Pepperballs
3.4.1.9.12. Launcher
3.4.1.9.13. Light bludgeoning
3.4.1.9.14. Heavy bludgeoning
3.4.1.10. Chemicals, Drugs, Intoxicants, & Potions
3.4.1.10.1. A-Z
3.4.2. Liminal Items
3.4.2.1. Letters
3.4.2.2. Prison Manufactured Goods
3.4.2.3. Personal Belongings
3.4.2.4. Gifts
3.4.2.5. Audio Recordings
3.4.3. Outside Items
3.4.3.1. Anything and Everything
3.5. Dreams, Hopes, Goals & Quests
3.5.1. Freedom
3.5.2. Love
3.5.3. Power
3.5.4. Romance
3.5.5. A World in Which Many Worlds Fit
IV Story Overview & Game Progression
V Bibliography

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I The Big Picture
1. Executive Summary
[write this last]
1.1. Audience
The intended audience of Prisons & Freedoms: The Mundane & The Magical is for anyone
prepared for mature content. This is a game that takes the player through all the gory details of
life in prison and, for those who make it that far, the gory details of life outside of formal prisons
that reproduce their existence on a daily basis. Therefore, players should be prepared to
experience these realities in a detailed virtual reality setting. This game is especially well suited
to those who dream of a better world and who know that wesociety as we are noware
impossible and that another world is unstoppable.
1.2. Instructional Goal
The goal of Prisons & Freedoms: The Mundane & The Magical is to teach players about the
complex stories, on macro and micro scales, that form prisons on an institutional level and
prisoners as individual political subjects. It is also meant, on a subtler level, to teach about the
politics of knowledge and to introduce players to a diversity of conceptualizations of human
nature and different meanings of freedom and prison. Finally, it intends to provoke deep critiques
regarding the necessity and (non)malleability of the world as we know it and dreams and
attempts at making configurations to the contrary where our lifeways are not based on
domination and extraction in the assumption of essential greed, but something more noblea
world in which many worlds fit, or the idea of Beloved Community made (virtually) manifest.
This goal and theme were chosen as the basis for the game because society is currently
experiencing the catastrophic and coterminous crises of climate change, economic chaos, mass
extinction, and mass incarceration. A lack of awareness of the very existence of these crises is
one of the main problems contributing to the problem. Knowledge of how these crises inform
each other and create feedback loops that increases mutually increase their severity is especially
crucial to beginning to work/play toward feasible solutions. Even though the United States has
more people in prison than any other country in the world, incarcerated people make up more
than one percent of our entire population, and there is a mountain of evidence regarding the
unjust nature of the justice system, maintstream media and education continue to denigrate
incarcerated people. Because prisoners are one of the most invisibilized populations composing
the human matrices of these crises it is reasonable to think that creating a fun if terrifying game
that raises awareness of their existences and plights while giving players gameful and fantastic
opportunities to play with and create fictional stories and fictional solutions will make a valuable
contribution toward the general level of awareness and plasticity of imagination we need.
1.3. Performance Objectives
Learners/players must persevere through the simulated life of a prisoner in the gameworld as a
matter of demonstrating willingness to become aware of the wretched conditions that
incarcerated people are not allowed to stop experiencing. Giving up entirely and never playing

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the game again before logging at least two hours of gameplay, especially for those inclined
toward video games, indicates a complete lack of interest in the subject and lack of compassion
for incarcerated people. Completing the daily routine of life in prison for a complete simulated
week (3.5 7 hours of logged play time) demonstrates a sufficient commitment to become aware
of the struggles of incarcerated people on the part of the learner. Continuing to play beyond the
first week of simulated life in prison, players begin to demonstrate an interest in solving the
prisoners dilemma. Learners who repeatedly attempt to learn about and somehow address the
issues of climate change and economic collapse from within the prison, through escaping or
being paroled and working at it on the outside, successfully demonstrate interest in learning
about the relationship between climate change and mass incarceration. Those who pass all the
way to final stages of the game, collective organizing for a transition economy and shutting
down the megaprojects and ending mass incarceration successfully demonstrate commitment to
learning the relationship between the interconnected crises of our era.
1.4. Instructional Strategy

Player empowerment and entertainment are the main tools used from the beginning to get the
learners attention. A sense of epic challenge in the beginning, where players start in a prison cell
with knowledge and connection of global crises that may end all life soon if they are not able to
get out and go do something about it, motivates learners to do the work of learning to navigate
inside of prison well enough to navigate out. While it will take overcoming a good degree of
challenges to finally escape or be paroled out, players attention is kept and they are reminded of
the necessity, urgency, and epic meaning by way of periodic dreams and communiques over the
Psychic Prison Rebel Radio network (see 3.9.6.2). Guidance throughout is provided through
many mediums including personal letters from their relations on the outside, stories shared with
co-prisoners and even correctional officers, and occasionally visions that arrive to them while
waking or sleeping. Visions and dreams allow the player to travel to various sites of crises
outside of the prison facility and to interact in different challenges that deepen their
understandings of the crises and at the same time their motivation to physically get out and/or to
improve their magic powers to affect change from the inside. The development of magic powers
and the option to hatch escape plans, organize prisons strikes and riots, and be open to a
complete range of realistic and fantastic routes of action serves to keep learners entertained and
to bring a greater degree of meaning for when they choose to show constraint and not use
violence. Collective punishment is almost always likely to be used by prison authorities against
the relations of the players character for any obvious transgressions and especially for violent
ones, so while unrealistic abilities and powers become available learners are nonetheless
encouraged by the political and social structuring of the prison society in the gameworld to
exercise caution and/or restraint and be responsible with their magic powers. Collective
punishment is one of various forms of consequences (learner feedback) for players actions.

1.5. Game Evaluation

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II Game Mechanics
3. Overview
3.1. Inside/Outside
3.2. Camera
3.3. In-Game GUI
3.4. Storytelling & Saving
3.4.1. Single Player, Multiplayer, Iterative Development
3.5. Dialogue & Story
3.6. Control Summary
3.7. General Movement
3.7.1. Moving in a Direction
3.7.2. Variable Movement Modes and Speeds
3.7.2.1. Standard Walk
3.7.2.2. Chain Gang
3.7.2.3. Forced March
3.7.2.4. Jog
3.7.2.5. Run
3.7.2.6. Sprint
3.7.2.7. Crawl
3.7.2.8. Climb
3.7.2.9. Swim
3.8. Subtle Bodies Movements
3.8.1. Contiguous Astral
3.8.1.1. Flight
3.8.1.2. Passthrough Barriers
3.8.2. Standard Flashback
3.8.3. Mundane Memories Dreaming
3.8.4. Waking Vision
3.8.5. Sleeping Vision
3.9. Agents, Objects, Environment, & Relations
3.9.1. Protagonists / Player Characters
3.9.2. Actions
3.9.3. Dialogue Operations
3.9.4. Timelines Navigation
3.9.5. Combat & Non-Combat
3.9.6. Magic & Psychic Powers
3.9.6.1. Empathy
3.9.6.2. Psychic Prison Rebel Radio
3.9.6.3. Telepathy
3.9.6.4. Telekenisis
3.9.6.5. Pyrokenisis
3.9.6.6. Supernatural Agility
3.9.6.7. Supernatural Strength

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 3.9.6.8. Levitation
3.9.6.9. Portal Creation & Discovery
3.9.6.10. Matter Manipulation
3.9.6.11. Summoning
3.9.6.12. Waterbreathing
3.9.7. Looking
3.9.8. Making Friends & Enemies
3.9.9. Speaking
3.9.10. Cut-Scenes
3.9.11. Storytelling
3.9.11.1. Friends
3.9.11.2. Enemies
3.9.11.3. Radio
3.9.11.4. Signs
3.9.11.5. Dreams
3.9.11.6. Magnifications
3.9.11.7. Phrases
3.9.11.8. Keys
3.9.11.9. Symbols & Sigils
3.9.12. Levels
3.9.12.1. The Inside
3.9.12.1.1. The Cell
3.9.12.1.2. The Cafeteria
3.9.12.1.3. The Yard
3.9.12.1.4. The Showers
3.9.12.1.5. The Laundry Room
3.9.12.1.6. The Jobsite(s)
3.9.12.1.6.1. UniPorc
3.9.12.1.6.2. Valeries Secret
3.9.12.1.6.3. MacStopheles
3.9.12.1.6.4. Telekom
3.9.12.1.6.5. PharmaKonn
3.9.12.1.6.6. FarmaKonn
3.9.12.1.6.7. KultureKorp
3.9.12.1.6.8. GamEkon
3.9.12.1.7. The Classroom
3.9.12.1.8. The Social & Political
3.9.12.1.9. Solitary
3.9.12.1.10. The Pastor
3.9.12.2. The Liminal
3.9.12.2.1. The Mailroom
3.9.12.2.2. Visitation
3.9.12.2.3. Parole Interview

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 3.9.12.2.4. The Courtroom
3.9.12.2.5. The Escape / Lockup / Release
3.9.12.2.6. The Liberation
3.9.12.2.7. The Dreamtimes
3.9.12.2.8. The Visions
3.9.12.2.9. The Futures
3.9.12.2.10. Pandemonium
3.9.12.3. The Outside
3.9.12.3.1. The Outer Prisons
3.9.12.3.2. The Megaprojects
3.9.12.3.3. The People(s)

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III Game Elements
4. Overview
4.1. Artificial Intelligence
4.1.1. Assumptions, Ethics, & Human Natures
4.1.2. Currencies, Economies, Money & Values
4.1.3. Corporations
4.1.4. Governments
4.1.5. Prisons
4.1.6. Wars
4.2. Characters
4.2.1. Parents
4.2.2. Siblings
4.2.3. Children
4.2.4. Ohana
4.2.5. Co-Prisoners
4.2.6. Bosses
4.2.7. Wardens
4.2.8. Judges
4.2.9. Police
4.2.10. Correctional Officers
4.2.11. Social Workers
4.2.12. Dentists
4.2.13. Doctors
4.2.14. Librarians
4.2.15. Teachers
4.2.16. Plants
4.2.17. Bricks
4.2.18. Microbes
4.2.19. Spirit Guides
4.2.20. Sunshine / The Sun & Sky
4.2.21. Land
4.2.22. Water
4.2.23. Non-Human Animals
4.3. Relational Discord & Dynamism
4.3.1. Collective Punishment
4.3.2. Solidarity
4.3.3. Betrayal
4.3.4. Love
4.4. Items
4.4.1. Inside Items
4.4.1.1. Prisoners Uniform
4.4.1.2. RFID Implant
4.4.1.3. Prisoners Hygiene Supplies

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 4.4.1.4. Prison Food
4.4.1.5. Prison Books and Other Printed Materials
4.4.1.5.1. Common
4.4.1.5.2. Uncommon
4.4.1.5.3. Rare
4.4.1.5.4. Magic
4.4.1.6. Prison Writing Materials
4.4.1.7. Electronics
4.4.1.7.1. Computers
4.4.1.7.2. Cell Phones
4.4.1.7.3. MP3 Players
4.4.1.7.4. Radios
4.4.1.7.5. Walkman
4.4.1.7.6. CD Player (personal)
4.4.1.7.7. Television Set
4.4.1.7.8. Stereo
4.4.1.7.9. Speakers
4.4.1.7.10. Wires
4.4.1.7.11. Video Games
4.4.1.8. Telephones
4.4.1.9. Inside Weapons
4.4.1.9.1. Soap in a Sock
4.4.1.9.2. Shiv basic
4.4.1.9.3. Shiv advanced
4.4.1.9.4. Shiv masterful
4.4.1.9.5. Poison, basic
4.4.1.9.6. Poison, advanced
4.4.1.9.7. Truncheon
4.4.1.9.8. Tazer
4.4.1.9.9. Tear Gas
4.4.1.9.10. Flashbang
4.4.1.9.11. Pepperballs
4.4.1.9.12. Launcher
4.4.1.9.13. Light bludgeoning
4.4.1.9.14. Heavy bludgeoning
4.4.1.10. Chemicals, Drugs, Intoxicants, & Potions
4.4.1.10.1. A-Z
4.4.2. Liminal Items
4.4.2.1. Letters
4.4.2.2. Prison Manufactured Goods
4.4.2.3. Personal Belongings
4.4.2.4. Gifts
4.4.2.5. Audio Recordings

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 4.4.3. Outside Items
4.4.3.1. Anything and Everything
4.5. Dreams, Hopes, Goals & Quests
4.5.1. Freedom
4.5.2. Love
4.5.3. Power
4.5.4. Romance
4.5.5. A World in Which Many Worlds Fit

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IV Story Overview & Game Progression
This is story of life in prisons and quests for freedom. There is a multiplicity of timelines based
on players selecting from a variety of existing pre-programmed options that can be mixed and
matched for a massive diversity of storyline experiences. Players can also custom write their own
responses to the narrative dialogue prompts regarding their background and other details instead
of selecting pre-programmed responses to create an even greater range of possible play
experiences. All choices in terms of responses to dialogue pop-ups that form the narrative of the
story and all direct interactions with other entities in the game have consequences for which
possible future timelines open up and which are foreclosed. Initial questions that players respond
to all solicit the details from the player as to who they were on the outside and what landed them
in prison to begin with. The range of pre-programmed dialogue options is meant to be instructive
regarding the wide range of possibilities from crime, guilt, innocence and the more complex as a
teaching tool for the politics of the prison system and raising awareness for prison struggles.
The setting is a fictional world that is indisputably fascist and thoroughly totalitarian in nature.
Magic is a very real and active force in this setting and the main struggle of the totalitarian
regime in charge of the world has been to maintain its dominant position by maintaining control
of magic. For this reason, many are raised to believe that magic is not real, except for the magic
of the regime itself which calls it something other than magic. Thus, prisons keep magic
suppressed within their walls to prevent escapes. This is primarily done through the food,
clothing, hygiene products, and anti-magic machinery located in secret and heavily guarded areas
of the facilities. Despite the heavy degrees of anti-magic, all players begin with the basic magic
of empathy which allows them to feel to at least a small degree what others are feeling. Soon into
the storyline, once certain actions and/or dialogue choices have been achieved the, players will
unlock the Psychic Prison Rebel Radio channel which allows them to begin receiving broadcasts
on the prison rebel radio network in their minds ear. Some broadcasts are directly imported from
our reality into that of the fictional gameworld and others are created specifically suited to the
(prison) struggles of the gameworld. A clear distinction is made between real world broadcasts
and those in the gameworld so players can easily identify which world (game or reality) they are
talking about. Players are also able to create their own broadcasts to narrate the struggles from
within their prisons, which are isolated instances of assemblages of NPCs for each individual
player, and then broadcast them out. The Psychic Prison Rebel Radio channel serves as a core
narrative tool and game mechanic for advancing the plot and shared sense of community and
collective rebellion in single player and multiplayer modes in this way.
The end of the story is almost always massive catastrophe on earth and often prisoners are
eliminated by the governments and corporations controlling them before they are ever given a
chance to be paroled or to hatch their escape plans. When catastrophe strikes earth as a whole or
whatever locality where the prisons are, it is a matter of state procedure to eliminate the prisoners
for fear of their escape. Occasionally the prisoners will not all be exterminated but simply
abandoned and left for dead. These scenarios leave a slight chance of escape amid crises.
For those who eventually make it out of prison, the next challenge is to reformat the broader
society such that prisons no longer exist. The end goal of the game, which few players are likely

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to attain, is a world in which many worlds fit, a world where there are no more megaprojects
depleting the earths lifeblood and no more prisons kidnapping and holding captive those who
dare to evade complicity in the crimes against the planet. With the creative, design,
programming, and narrative tools woven into the game players will be permitted to develop
myriad maps out of the prison society of the fictional fascist world they begin play in. The
overall storylines at the end of the game for those who manage to escape prison and stop the
planet from burning everyone alive are completely dependent on the ingenuity of the players. For
those who do progress so far along, the game never really has to end as they can always continue
to entertain and explore the new challenges that arise in the societies they create after prison.

Basic outline of some plausible timelines for players of Prisons & Freedoms:
A. Prison cell
B. Prison cell good behavior death1
C. Prison cell bad behavior solitary confinement death
D. Prison cell good behavior successful parole creation of a stable life despite the
odds death
E. Prison cell good behavior parole denied escape plans death
F. Prison cell bad behavior escape plans successful escape successful stoppage
of megaprojects destroying the planetdeath by comet
G. Prison cell good behavior parole granted gainful employment consistently
blocked due to convict status starvation
H. Prison cell good behavior parole granted gainful employment consistently
blocked due to convict status life of crime and expropriation successful stoppage
of megaprojects utopian society established governance imprisonment in new
(counter) revolution leave through portal to another dimension imprisonment by
special anti-magic forces repeat
I. Prison cell escape plans successful escape visit family and children before death
or re-imprisonment
J. Prison cell escape plans flee to underwater interdimensional mermaid society

1Death could be by any cause here. Being beaten to death by correctional officers, other prisoners, heart attack or
other natural cause, the comet strikes or other extinction scale calamity

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V Bibliography

Gee
Rouse
Gagnes 9
Worldwide listings of political prisoners and various support groups
o Real audiocasts, interviews & communiques from prison strugglesthat serve
as inputs for players experience via psychic prison radio channel
o
o Assata
o Mumia
o Peltier
o Shoatz
o Swain
Critical resistance
Books to Prisoners
INCITE
Meyerhoff on two sides of the same coin
o Academic journal abolition
On the carceral and disciplinary nature of $
Lestelle (2016)
Maps of megaprojects (?)
The Rock
Book(s) of real prison escapes
AbdelRahim (2015)
Thomas King, stories
Alas / Savage Fam Frontlines
[soundtrack ? no soundtrack beyond what is found and available through the
prison economy]
Transition Economy sources

17 | P a g e 2 0 17 . 1 0 . 0 9 Pr i sons & F r eedom s (EGDD v.05)