Creating my IF game helped me learn how to weave storytelling and player engagement in a way I hadn’t expected. I started with a pretty simple plan: sketch out a branching storyline with choices that would affect the plot. But the process quickly got a lot more complicated. Every time I playtested, I realized something new that reshaped not only the game itself but also my understanding of how players connect with a story. Each choice, every line of description, and every shift in atmosphere became a puzzle piece that had to fit perfectly for players to feel invested, as it emerged through looking at each player’s experiences separately.
One of my first playtests was with Thanh, who found the idea of “abstracting thought” difficult to grasp, and this feedback forced me to realise that the language I used mattered just as much as the choices themselves. Instead of technical descriptions, I rephrased the idea of “abstract thought” to focus on simpler, visceral elements, describing the character as a human with an AI integration. No abstract concepts, just a person experiencing an augmented sense of reality. Thanh’s feedback made me realise that language in IF needs to make complex ideas intuitive and instinctive for players, and each word choice counts in helping players feel a part of the story’s world.
Another unexpected learning came from Asher’s playtest. Originally, the player’s motivation was to save a character’s sister, but it seemed too generic. Asher’s reaction was a bit lukewarm. He mentioned that he didn’t feel the emotional impact and was unsure why he, as the player, would care about this mission. This was a turning point for me. The playtest taught me that player motivation in IF is not only making one’s way towards a goal, but creating a reason for the player to emotionally invest in that goal.
I really learned about my strengths in this assignment. What mostly surprised me was people’s reaction to my world-building elements I’d introduced. Edwin loved the “textured” feel I’d created with varied fonts and sentence flow, mentioning that it made him feel “transported” into a gritty, neon-lit world. His reaction made me realise how much atmospheric detail can elevate an IF game, and while I did feel a little bad about having more story than technical component, I thought that made it really compelling. Therefore I leaned into sensory elements that allowed players to experience the world beyond just seeing it. For instance, I added details about the dampness of the alleyways, the low hum of city machinery, and the faint buzz of neon lights. My weakness is with pacing and space. Players liked exploring the environment and felt intrigued by the atmosphere, but certain moments moved too quickly, especially when high-stakes decisions appeared right after lengthy descriptive sections. I learned that pacing in IF has to balance immersion with tension, creating a flow that keeps players engaged without rushing them.
