Connor

If all goes well and the sound works, I'll be very happy with my level.

For someone who has never used Unreal, the things I made were made so that I went out if my comfort zone but not so far that I made my task impossible.

I enjoyed playing it after it was finished so, personally, I thought it was a success.

My game was made as a demo for a unique game mechanic as opposed to extreme fun or puzzles so if I were to make it again, I'd add some puzzle elements to the level but I feel like the demo accurately matches the idea I had for a game.

I made more to my level. Finishing the main room off and adding an outside area that respawns you if you fall off into the abyss. A conveyor of bars that push you back so that it wastes time. And a room that is full of lights.

The room full if lights is a symbolic thing where you are rewarded with light after trying to navigate through the terrifying dark and abyss that succumbs everything.

I wanted to add some unusual structures with in the game as the initial story, after much consideration, would be in space; hence the "Artefact Found" at the beginning of the game. There would be Aliens or other life forms of some kind that would chase you and youd have to navigate through the darkest reaches of space to escape. Of course, I cannot implement AI so I just made the level itself whilst still adding tension with sounds and the timer counting down.

I have made a series of point lights that turn off down the corridor and one flickers near the end giving the sense of dread. The gun now also shoot lights so I tried that a few times; this may need editing or altering so that the light shines brighter and a lower rate of fire but that can be dealt with at later date.

As I began to construct the level, I realised that this is the part of the course that I’m going to struggle with: Game engine software and particularly, blueprinting. I’m slowly getting used to it but, for some reason, I’m finding it very difficult to get used to using it. 

The testing sessions were very helpful, I’d have liked to do some more but unfortunately, that wasn’t possible, but I have enough to get a feel of how people felt about the game.

After already having the idea and writing it down to the point where I was very happy with my progress, I kept going back to tweak it and make it actually playable. Extending the story and having it feel more deep and depressing than before. I realised that Albert’s story was more of a story of a “plea for help” and “Save me” than the original story of him being the Villain. After reviewing the story, I feel much happier and stronger about the idea I have now.

As it’s a Rule book that we have to make, I went into detail in how the Game Master and Players should do, be aware of and should do for the sake of immersion. Some people are new to the Table-Top RPG scene and so, I would like to aid them in playing my game how I initially intended to be played. To emphasise this, I added a “How it’s Played” and an example of a small turn (On Page 07) for some added help of what players should expect.

For our final assignment in XB1101, we had to create a table top RPG based on Simple World/Apocalypse World. We needed to create a game that all previously learned skills could be incorporated into. Skills such as world building, story writing, unique mechanics etc. 

Now, as you know, I try to make my games very different to the stereotypical genre and by doing research into the genres of table top RPG’s, ie; Dungeons and Dragons, Lasers and Feelings and Lady Blackbird. I deduced that the most common types of game are sci-fi and fantasy (and anywhere in between). 

Without even realizing, I already had an idea I felt quite strongly about in mind. It was an idea I feel could be limitless (or as far as imagination can take you). Personally, imagination and creativity is something I excel at, pulling ideas and stories from my mind. This spurred the idea of the game being set in someones mind. 

The story started off entirely based within a murderers mind. A man who has his demons that ultimately leads him to commit crime. After some character development, I decided that he would be an asylum patient, where his inner demons had taken over, leaving him a quivering husk of his once former self. I was happy with this choice, and so the next step was creating playable characters and their reasoning. 

Ultimately, my aim was to make my players as emotionally invested as possible. Which quickly resulted in people playing as the only positive thoughts left in this man’s mind. Understanding these positive thoughts, I wanted to make the man feel real. Deep thought and consideration went into creating the main Protagonist and Antagonist, producing upsetting backstories and situations that have lead Albert into where he is now; writing stories like his wife dying with their unborn daughter and being consistently bullied by people at his school as well as his parents. All of his past ultimately lead to his downfall.

I’m a sucker for lore. 

Going deeper into the character creation, I now understood that the playable characters needed to be physical embodiment's of his positive emotions and memories. For example, Hope is the first character I made, who is an optimistic, attractive female, emanating light from her being. I wanted hope to be more of a memory than a feeling as Albert has already succumbed to the evil within. All four base characters have a fighting style, personality and a reason for existing. This was an important decision and choice on my behalf, because as someone who has played numerous/multiple/a few table top RPG’s creating your own character is a lengthy and emotional process. You pour hours and hours into something or someone that you truly have to believe in, to put yourself in their shoes for a period of time. React to situations as they would. You go on a journey with them. However, as the creator this time around (or the dungeon master), my players are denied the option of creating their own character. It was therefore vital that I give them a set of pre-made characters that feel as realistic as possible. 

By the end of the first lesson after receiving this assignment, I had already filled in half of the rule book. 

I want to write this blog purely to talk about the choices and its impact on the story and how the decisions matter; no matter how small or large they may seem. Almost every choice in the game will have an impact to your playthrough if the player pays attention. Anything from noticing a bit of Dialogue or Description of something or even asking for someone’s will mean that you’ll know their name for the rest of the playthrough (SPOILERS: But asking the driver for his name means that he’ll tell you and, using coding, i have inputted it so that if you know asked his name you’ll see his name every time as opposed to just seeing ‘the driver’) There is a positive to not choosing them though as it may explain more, the driver again: Not asking him will make you pay more attention to you surroundings and tell you something that you may have missed.

The biggest one being where to go or how to apprehend the Criminal in Chapter 1 means that I have had to write a different outcome to whether you acquired the gun in the intro, meaning each situation (5 of them) needs 2 versions, one where the character has a gun and one where he doesn’t. This can become tedious when writing but important in the long run for realism.

WARNING: THIS EXTRACT CONTAINS GRAPHIC DEPICTIONS OF VIOLENCE AND GORE. CONTAINS STRONG LANGUAGE. READER DISCRETION IS ADVISED.

You jump and slide legs-first across one of the dining tables and knock an old man’s bowl of Udon Noodle Soup onto the floor, shattering it and spilling the food across the dirty and cracked tiles; doing this means you are now more ahead of the officers chasing you than before as they stumble around the distressed man who’s lunchtime meal has just been ruined. You shoulder barge into the door to open it as fast as you can and you run left through the oncoming horde of shoppers, civilians and men who are late for work with coffees in their hands whilst screaming down their phone. You bash through the crowd as you come to the turning to Sum Chai Lane. You decide to run down it and over a small chain-linked fence that is blocking access to a small alley. You hear the shouting of Police Officers along with distant sirens as you vault the fence. You run and are apprehended by an Officer; he looks young, new to the force so you slip out of his grasp. You slide over him until you’re on his back and handcuff him. You take off in the same direction with the Officer screaming, almost in tears. A police car pulls up blocking the alley entrance and you stop. There’s nothing you can do. You try to run but are grabbed by two men who tackle you to the floor. They handcuffed you, pulled you up onto your feet, making you walk to the police station which is close by. “Move asshole.” One man says. He is bald with no facial hair but through his own choosing as he doesn’t look much older than twenty-five. “Some impressive stuff you pulled recently. Ain’t that right, Zhenzhi?” The other Officer asks, mockingly. He has short hair with a thick moustache, clearly older than the other man. The name ‘Zhenzhi’ still hasn’t gotten used to you yet as you walk down the busy streets, people of all types staring at you. People wondering, others recognising until you see Jackie come out of a shop with a small black case. His face shows a look of panic but is immediately removed by a look of confidence. He puts his thumbs up to you and twiddles them, moving them in a circular motion. You get the hint and wink at him. He runs down the road, easily slipping in between people. “Officer?” You say to the younger one. “Shut it, keep moving.” The man with the moustache shouts with a gravelly voice. Perhaps he’s trying to assert dominance in the situation. You see Jackie talking to Two-L down near a McDonald’s and he’s shouting about needing the bathroom and then they head inside. “Officer, I need the bathroom.” You say, finally understanding everything. “No, we’re nearly there now.” The moustached man says, having no bullshit from anything, he hasn’t stopped frowning since he got out of the police car. “Come on Kit, I need one too, actually.” The young man says. You smile at his words. “Fine, but I’ll be outside the cubicle and if you don’t like it, then tough shit.” You nod and hide your smile.

 You walk into the McDonald’s. People move out of your way and stare intently at you. You go into the cubicle and unzip your jacket a little to make it sound like your undoing your jeans. You sit on the closed seat and slide your arms under your legs until they’re in front of you. “Why didn’t they uncuff me to piss?” You think to yourself. You look around and nothing seems out of the ordinary apart from the young man’s urine has some power to it, the sound of his piss hitting the toilet water is almost deafening. It’s now or never; you grab your thumb and push down hard, dislocating it. You wince at the pain but it just sounds like your straining for a number Two. You wait a second to breathe and then slide your hand from out of its grasp. “Hey.” You hear a whisper come from above you. It’s Jackie and Two-L in the ceiling, they lifted a ceiling panel. “You ready?” You look down and relocate your thumb and nod your head as your face shows your agony.

POOF! Smoke begins to rise from an unusual ball that Two-L threw at the moustached man. He begins to cough violently and falls to the floor. You jump up to grab Jackie’s hand and he pulls you into the ceiling and closes the panel. “Thanks.” You say, rotating your thumb. “Don’t mention it, let’s get out of here.” Jackie turns around and the three of you climb to a maintenance room and hop out from the ceiling.

 “How’d it happen?” You ask Jackie. “How’d what happen?” He asks as he looks up at you. “Something must have happened for you to know how the thumb thing works.” “Oh, right. I…” Jackie looks down at his feet. “Don’t worry Jackie. It’s done now.” Two-L says. “Yeah, sorry man. I just thought like a robbery or some shit.” You try to use humour to bring Jackie’s infamous smile back. “Shit…” Two-L says as he stops at an alleyway. His face is showing more fear than ever before. “What…?” You say as you turn around to look at where he is. “Jesus.” Jackie says. There is a body of a police officer tied to the wall. He is wearing a shredded and bloody version of the HKPD uniform. His face had been bludgeoned with what appears to be something like a meat tenderiser. His fingers are all broken or have been removed by pulling them with force, making the cuts very vicious and unclean. The blood dripping down from his beaten carcass was beginning to overflow the puddle beneath him and had started to run down towards the street they stood on. The reflection in the puddle showed the alley way and the sky above. “Fuck…” Two-L seemed genuinely distressed by this. He hated cops but having your face bashed in like this is not a way for anyone to go. “We better leave before someone sees us and thinks it’s us. I haven’t got it in me to fuck my thumb up again.” You say as you take a couple of steps back. The body didn’t smell yet, just the powerful smell of Iron and blood began to fill the air. “Let’s get back to Wu. He needs to know that someone is killing HKPD.” Jackie said, already walking off towards home. “Yeah, I guess.” You say as you put your hand on Two-L’s shoulder. He turns and follows.

 “Please! NO!” The Officer falls to his knees and slams his hands onto the concrete floor with clenched fists. “I’ll do anything!” “That doesn’t matter, I asked to you do one thing!” The figure in the dark paces up and down in the shadows. “…but you couldn’t even do that, so the words ‘I’ll do anything’ are lies!” The shadowed man reveals himself after saying that. He has a small ponytail but no hair anywhere else and very prominent eyebrows that always look angry. “I asked you to kill Zhenzhi, is that too much to ask?” Ponytail turns around to one of his men who are hidden in the dark. “Chal, is that too hard to do?” “No, Sir.” “What about you Four-H? Is that task too difficult to accomplish?” “No, Sir.” Ponytail walks back into the light, in front of the crying Officer. “You see what I’m getting at?” the Officer nods and begins to sob so hard that he has difficulty breathing. He walks back into the darkness and the sound of metal scraping on another metal can be heard echoing through the darkly lit room. Ponytail comes back into view, holding a baseball bat with multiple bike chains wrapped around it and has blood stains across the length of it with splinters sticking out at every angle. “No…” The officer whispers. “This is Ānjìng. It means ‘Silence’. Beautiful, isn’t she?” Ponytail crouches down to the Officer’s level. “She’s had the honours of making people I don’t like quiet for the rest of my life…and frankly, I really don’t like you.” The Officer’s gaze pierces through Ponytail’s soul but he doesn’t care. He stands up and moves his Index finger in a circular motion to indicate to the other men to leave. “Shut the door on your way out.” He grasps the handle of Ānjìng with both of his hands and does a practise swing into the air softly. “Hush now…my darling.” He caresses the bat with his hand. He has a surprisingly delicate touch. The Officer kneels there knowing his fate and closes his eyes. “I’m sorry.” He whispers. Ponytail’s face stops and get angry again. “SHUT UP!” He screams as he swings the bat and all of its blunt, metal teeth into the Officer’s wet face. The impact caused the skin to instantly shred and obliterate, causing the muscle tissue and excess meat to wrap around the chains and stick it to his face. Ponytail was breathing heavily through his gritted teeth and sweat was beginning to drip down his hot face. He yanked Ānjìng from the man’s skull and watched his body drop to the floor like a sack of shit; his head smacking the floor with a loud and hollow-sounding knock.

I have written an extract that will appear in the future of the story. I have gone for a large contrast of different scenarios and techniques. I will explain all down below:

The story extract takes place in two different times, the first one being a more light-hearted chase scene and use of teamwork. This one is detailed in what happens in a short amount of time but ultimately is very fast-paced.  The second half is a lot more gritty and dark. It is a flashback of how a situation occurs at the end of the first half. I will post the story on here soon so people can read it but I warn you that there is graphic descriptions of gore and violence.

I, occasionally, use language techniques like an oxymoron and onomatopoeia to describe the object or situation in a unique way. For example: “darkly lit” describe the room is dark but light is there but very faint, but the choice of words sits very pleasingly in my head and I hope it does to the readers.

... I’m sorry. 

But yeah, research. I did an absolute fuck tonne of the stuff. 

After realizing I had done a substantial amount of research, I made a passage for credits (references and research) that can be accessed in the menu screen. This consists of Wikipedia pages, large PDF files; one of which being 450+ pages on every key statistic from the citizens of Hong Kong, even apparel. 

I have mentioned previously that I looked into examples of CYOA books and the genres. I discovered that most are fantasy based. Fantasy games are easier, I feel, to write about, as absolutely anything can happen. Describing something that doesn't exist is much easier to explain, as opposed to explaining something that does exist and making you believe its real. Hong Kong is a genuine city. I had to go out of my way to actively seek out examples and incorporate them into my story, for example stores, clubs and restaurants. I would often re-write a description of something numerous times until I believed it sounded legitimately correct. Using my previous outside knowledge I had to describe weaponry, as Hong Kong has one of the strictest anti-gun laws and restrictions in the world. 

As I am writing this, one of the largest decisions so far is choosing which restaurant to go to (its for plot reasons). Choosing the incorrect location results in a very different outcome story wise. You could miss out key information, or have to go through a different route. 5 out of the 7 choices are different restaurants and therefore I need five different descriptions, each being unique. Not a carbon copy of one another. Though this process is time consuming, as a perfectionist, I feel it will greatly contribute to and improve how ‘real’ the game feels. In real life, people often come up with Unique Selling Points or reasons that you should visit their restaurant, play their game or do their thing and that’s why I’m spending all of this time making each description real and not writing the same description so all are the same, because that’s not what life is like and that’s what I am to do; make it like real life.

Each character has a specific name meaning. The protagonist, for example, his name means “to succeed”, “honest” or “true”, which I thought was beautifully ironic as he has to go undercover and basically lie to everyone he meets. Another good example is the name of the driver, which can go undiscovered as simply asking him his name is presented as a choice; “Qinggan”. This means “sentience” and “emotion”. This is emphasized by his personality, he never shows emotion though you can tell he is constantly feeling it. 

My game is directed at a target audience that enjoys CYOA games, but want a more gritty, life-like experience. 

Just had the idea of incorporating time travelling. 

Fuck that. 

Told you, biatch. Boy who cried wolf. I’m here. Yeah but in all seriousnesslessnesslessness. Yeah.

It seems once again, I have failed my previous promise of updating this blog more quickly on my adventure game. However, this does not make for a lack of progress. Oh no. 

As I mentioned in a previous blog, this project is going to be far more serious as compared to my Limbo trailer, for example, which was purely a parody, set to remove the sense of immersion through editing audio. On the contrary, I want this project to be as real and immersive as possible; to take the player through an actual story where their decisions are difficult, yet meaningful (not necessarily easy to distinguish). 

Players start off in the intro where they are thrown into a situation with no knowledge of who they are, or how they got there. This was an important decision I made early on as the protagonist also has no understanding of the situation. This immediately, on a psychological level, means that the player can relate to the protagonist. The bond, therefore, is immediately strong. They learn the basics of choice and how those choices have a definitive yet minor impact. Examples of these are; discovering backstory, examining your surroundings to gain a better understanding and hints to future events. (I wanted there to be some form of negative impact, yet nothing to major as it was only the intro, to let the player know that choices matter. Lets call it starting them off in the ‘shallow end’). 

From both this project and others, I have realized that description is where I excel. I believe that I can paint a vivid picture with any situation I can put my mind to, which is why I have gone for something unorthodox in the CYOA world. I believe it is a situation where there is a big-risk, big-reward system, and I hope I am good enough so that it pays off. 

MEMBERS: CONNOR, ANGELO, PETE, LOUIS, LOUIE.

For our cooperative game, we wanted to create a scenario that inspires real teamwork. None of the situations we could think of mixes the true teamwork with real fun as much as a zombie apocalypse. For a lot of us, a zombie theme has been one of the biggest trends in growing up so it was a pretty simple decision to implement it.

OBJECTIVE: Escape the house before you are overrun by the zombie horde, using weapons and keys you find by searching around.

RULES: Place the 3 key cards face down separately and shuffle/separate the other cards to create 3 different piles, add one key to each pile and shuffle each pile again, these will be the decks you draw from for each individual room. Start all players on the pentagram in the middle of the first room. Set the zombie counter to 1 per turn and the overall number to 20. Players have 1 minute; however, you can give yourselves longer or shorter for a change in difficulty (DEVELOPER’S CHOICE: 4 players with 45 Seconds has enough tension and fun for a perfect game) to make all of their moves combined and this counts as a ‘turn’. Another important factor was instead of having each player have an individual turn, we wanted every sense of the game to be about teamwork, and therefore all players work in one turn. Starting from one player and moving clockwise, each player gets to move up to 4 spaces in the house each per turn. After movement, there are some things players can do depending on the space they are stood:

Search for items

If a player finishes their movement on a crate space, they can search this crate once per turn which allows them to draw a card from the deck for that room. These decks are randomized, apart from the door keys being one in each pile, for each room. Crates contain different cards which affect the game:

-Weapons-

A player may only have 1 weapon at a time, therefore if they find a weapon that they prefer, they can either discard their current one or use up their’s and another player’s moves to hand them the weapon. The number of zombies each weapon can kill per turn is stated on the card.

-Power-Ups-

Thes cards can be saved and used tactically for the right moment.The NUKE card can be used to wipe out half of the current zombies, the RELAX card can give you double time and effectively two moves every turn (go around the circle of players twice) before zombies add up until a HORDE card is picked up, and the +2 Damage which is a permanent booster for the rest of that game.

-Hordes-

These cards when drawn increase the counter of zombies per window at the top of the board by 1, when this counter reaches the max it is game over.

-Keys-

When a player finds a key in the deck they have the ability to unlock the door to the next room.

Defend Windows

If a player finishes their movement next to one of the windows in the house, they can defend the house from zombies for that turn. The number of zombies they kill depends on their current weapon. If you have no weapon then you kill one zombie for that turn and only if you stand by a window can you protect the house and lower the total zombie count.

Use Keys

If a player has a key, they and all other players must be stood in the space next to the door in order to unlock it (any spot near the door space is connected). They must also wait until it is their move to do this and it is the only action they can perform for that turn. Keep in mind that there is a danger with progress as opening new rooms provides more items that can be found but also opens many more windows for zombies to gather from.

After completing a turn or when the minute has passed the number of zombies will increase depending on the number of open windows and whatever level the zombie counter is at. For example, if there are 3 open windows and the counter is at 3 per window, the number increases by 9. This number will also decrease depending on how many zombies were killed by players that turn.

There is a number gauge that can help you with the maths of how many zombies there are as it is quite maths heavy.

There may be NO discussion of plans during this interval period as this must be done during the minute timer.

If the number of zombies reaches 20x the number of players it’s game over! (if there are 4 players then the game is over when the number of total zombies reaches or passes 80.)

Contains: 

21 Cards Total -  6 HORDE Cards 3 Key Cards 3 Power-Up Cards 9 Weapon Cards

A Board

6 Player Counters

A Total Zombie Sheet

3 Zombie Sheet Counters

1 ZPT (Zombie Per Turn) Counter

Design Statement:

As soon as we were given the task to make a co-operative game involving very heavy teamwork, we began brainstorming ideas immediately but it didn’t take long before we came up with the idea that is presently in place. The idea of surviving in a zombie apocalypse is not a rare situation in media, with games like Left 4 Dead, Call of Duty: Nazi Zombies mode and Dead Island, however, zombie survival is a common thing in other forms of media too such as Edgar Wright’s Shaun of The Dead or AMC’s The Walking Dead. This was the initial reason as to why we liked the idea from the get-go.

We had the idea of being in a house and being surrounded as a sense of helplessness but as far as mechanics went, we were struggling on how it would all work except for using keys to get from room to room. We then worked from there with the question “Where would the Key be?” so then we implemented the ‘search’ mechanic, but we then had to come up with new cards and why they’d be there and how we’d kill zombies and the rest of questions were asked until we had a basic understanding of how the game would work. Another thing we had an idea for quite early on is a timer, trying to play and move all within a short time limit to add even more tension as the zombies were closing in and a timer was the perfectly solution to add that.

The zombie system would be invisible and would continuously increase based on a system similar to that of the outbreak system in ‘Pandemic’ where it would increase by 1 ‘Number’ every time something happened (that something was decided as a card that said HORDE, as horde is a swarm of zombies in pop culture). Gradually, the increasing number of zombies would result in more tension and difficulty, which was a risky choice; the closer to the end you are, the harder it gets. This is because as you opened up more parts of the house, there were more opportunities for the zombies to enter the house too. After playtesting, it turned out that this works very well and winning is very rewarding since the sense of tension and difficulty was made present.

Killing zombies and surviving was the next step to making this game feel authentic to our idea and also playable, so we decided to introduce zombies by adding windows to the house that the players are trying to escape. Players can move to these various windows to shoot out of, killing some of them. This is a short-term solution to lowering the number of total zombies and lasting that little bit longer. On the other hand, we needed more things to search for - more cards. So we came up with weapon cards that can be found, these help increase the amount of zombies that a player can kill when standing at the window. As these weapons are present in the real world, we also balanced their damage statistics accordingly to how powerful they are.

After making these adjustments, it all started to come together and began to truly feel like a real, working, co-operative game. We proceeded to playtest once again and found out that one of the only problems left was to do the maths side of things (like keeping track of the number of zombies present). We had a playtester who happened to be very good at these challenges but if people were playing that were not the best at maths, they would seriously struggle with keeping track on this. Consequently it caused the loss of the fast-paced and tense atmosphere very quickly. Our solution was this was to add an asset that the players would use to keep count. The idea initially started with the addition of a whiteboard and a pen to write the number down but this ultimately changed to our own Zombie Number sheet. This works through one determining the number using Units, Tens and Hundreds - similar to that of what scoring system is used in the popular sport, snooker.

Another thing we discovered during the playtesting was that before we started the timer for the players to make their moves, they were pre-planning on what they were going to do (e.g. stand at a window, or try to find a key).  We wanted the pure rapid-paced gameplay and talking in the intermissions after each turn ruined that as people would discuss where they would go in the next turn. Therefore, we decided to clamp down on the rule of NO COMMUNICATION ABOUT ANY GAME STRATEGIES OR MOVEMENT WHEN THE TIME IS NOT ON. The intermissions are for finding out the change in the total number of zombies and that’s it. Any in-game conversations should only happen once the timer starts again, but that’s not something that we can ‘control’  but we would like that to be known that it truly adds more panic than having the time to talk and then having a minute just to move.

The final playtests with everything showed us that we enjoyed the game a lot and got to work on solving any of the problems that we encountered. It proved that we thoroughly cared about it as every small problem; there weren’t many big ones, were solved and we tried again and now is, personally, a great game to people both involved and not involved with the making of the game.

That is everything you need to enjoy this game, but as always...Happy Gaming

Pictures of Zurrounded!

Zurrounded! Game Board

Player counters, ZPT counter, Zombie sheet counters weapons, Power-ups, Keys and Horde cards

Sorry, everyone...I admit that I forgot about this blog post but better late than never!

After very little consideration, I’ve decided to base it loosely on Square Enix’s Sleeping Dogs. A “Detective” story set in Hong Kong with a twist.

I have already written a good five hours worth of work and research which equals about three minutes of intro max; that’s how long this is going to take!

You are Li “Zhenzhi” Cheng, tasked with shutting down several triad gangs across Hong Kong, but do you shut them down the police way or the corporation that wants you to kill them? Or do you not shut them down at all? Do you become the “Top Dog” in the largest gangs in the entire country? Or die?

I want the players to get a sense of action and immersion; much more than my previous project where it was the sole purpose to draw them out of the story.