Before,therewasAva

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 they interact 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.

We had to think backward to create the story, focusing on our desired outcomes for the player and then backtracking to outline the main plot while we built our characters. Because we wanted the highest immersion in the magic circle, the player's character had to be bland and full of ambiguity. We chose not to portray DID in the first person since it is not our reality; thus, we cannot create an authentic portrayal. In this sense, the player isn't the story's main character but rather a companion to the protagonist's journey.

The story centers on Kiska and the trauma that led to her development of DID. Before There Was Ava features branching paths and endings that explore the unique aspects of Kiska's seven alters, like the protective Clover or childlike Maya, each with distinct traits and visual identities. The narrative unfolds across four acts, emphasizing gradual revelation and choices that impact Kiska’s well-being and the player’s understanding of her journey. Each interaction carries weight, connecting mechanics, visuals, and story into a cohesive experience.

The player has to navigate their friendship with Kiska, getting to know her seven 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 choices, the importance of platonic relationships, and investigating a thrilling mystery about a creepy cult.

To ensure the authenticity and respectfulness of the story, we engaged directly with individuals living with Dissociative Identity Disorder (DID). Through interviews and discussions, we sought to understand their lived experiences, perspectives, and the nuances of interacting with a system. Their insights were invaluable in crafting interactions, dialogue, and narrative elements that reflect the complexities of DID without perpetuating harmful stereotypes or stigmas.

This collaborative process shaped Kiska’s portrayal and the design of her alters, ensuring each character felt genuine and distinct. By incorporating feedback from people with lived experience, we aimed to strike a balance between creating an engaging narrative and fostering empathy and understanding for players unfamiliar with DID. Our goal was not just to tell a story but to represent one with accuracy, sensitivity, and care.

To deepen the immersive experience, we introduced mechanics like real-time decision-making, a "photographic inventory" for gathering clues, and an adaptive dialogue system that reflects the player’s relationship with Kiska. The player’s choices influence not only the narrative paths but also the emotional tone of interactions, making every decision impactful.

The concept of expanding the "fourth wall" plays a significant role, with the game using the player's system data to personalize interactions. For example, Kiska’s alters might address the player by their real name or refer to files stored on the computer, adding a sense of unease and connection. Additionally, mechanics like dynamic environmental changes—darkening rooms or shifting layouts based on player actions—enhance the psychological and horror aspects of the game.

The visual aspects of the game were designed to strengthen the story and its aesthetic, guiding the player and encouraging investigation. A minimal interface ensures immersion, while elements like speech bubbles and color-coded palettes highlight the distinct personalities of Kiska’s alters, such as bold red for Clover and melancholic blue for Alice. The 2D, hand-drawn art style enhances this dynamic by juxtaposing bright, warm tones for safe spaces with muted, eerie palettes for cult-related locations.

Monique Alencar (AKA Nickyzilla) did all of the scenery and character art, masterfully blending visual storytelling with emotional resonance. However, the UI and other supporting elements were created by the rest of the team to represent the player's interaction with the world.

Before There Was Ava offers a deeply layered experience that intertwines narrative, aesthetics, and mechanics to create a poignant exploration of identity and empathy. By presenting a nuanced representation of DID and challenging traditional storytelling tropes, the project achieves a balance between entertainment and meaningful commentary. As players delve into Kiska’s story, they uncover not only the mysteries of her past but also the profound impact of their own actions within the world of the game.