Tommy DeBenedetti, Thu Le, Mai Mostafa, Myan Ngo, Candy Tang

Final Project Document: P2: Level Design and Architecture

CS 247G 

wandering

 

Game Link: https://mngo118.itch.io/wandering

Final Playtest: https://www.youtube.com/watch?v=ANZA-62hSqw&feature=youtu.be

Documentation.

Artist’s statement.

Wandering is fundamentally a walking simulator that follows the story of a fox in a magical forest environment. The fox, like the player, is magically transported into an unfamiliar forest filled with anthropomorphic animals. Like most walking simulators, our game allows for the player to discover the world around them by exploration, guided by an overarching narrative and side quests that take the player through several mini-environments and plot-lines. The overall aesthetics of our game are appropriate for all ages, but may appeal to younger audiences by nature of the art and simple mechanics. While the player engages in discovery of themselves as well as the fictional world around them, our overarching narrative invites the player to engage in discovery of the greater reality of natural environments in real life. 

 

The magical animals in the forest draw parallels to the situation of animals in their natural habitats that are plagued by human actions and lack of action. They tell a very real story of deforestation, climate change, and pollution. Their anthropomorphism allows for greater sympathy and connection to the player, as well as lends a voice to their situation that real animals otherwise lack. Through this game, we hope to entertain, but also educate players about the reality that surrounds the destruction of nature. 

 

Model

Figure 1. Map of decisions and events within the game. The game follows a main quest that has four sub-quests for completion. Each subquest allows the player to interact with the world and environment through dialogue or mini-games.

Figure 2. Start of the game. Player is given slight cues to talk to the Beaveress for exposition

Figure 3. Bottle Puzzle. After collecting all 14 shards around the map, the player must assemble the bottle

Figure 4. Spring water. Player goes to the spring to fill the bottle with spring water

Figure 5. Flower for Honey. The player talks with the flower to trade for honey 

Figure 6. Lily of the Valley. With the help of the fireflies, the player illuminates the dark to find a special flower.

Figure 7. Saving the Great Tree. The once formerly desolate tree is brimming with life. Nature is healing.

 

Initial Decisions.

Art that is Human.

After connecting with each other as a group, we collectively decided that we wanted to create a polished 2D top-down game on Unity. In the very beginning, we intended on creating something that has aesthetically pleasing art that is intentional, with full artistic control and direction by humans, rather than an generative art model. We planned on having human composed music to accompany the game to further complement our artistic approach. 

 

Formal Elements.

Our game is partly inspired by the traditional Pokemon games, where the player is placed in a world, with navigation controls in the cardinal directions. This belongs to a greater category of top down games, where the perspective allows for a camera view that looks from the sky, down onto the character controller. The game perspective is mostly 2D. Additionally, the game is a walking simulator, with a world and narrative attached to the game for the player to follow. As the player explores the world, they follow a story as the art, mechanics, and music bring it to life.

Figure 8. Initial ideation. We got together as a group and drafted what we wanted to make, as well as the narrative that surrounds the story. We each contributed ideas that we wanted to be made into the game, as well as tried to build connections and relationships between the parts to bridge them together and make a cohesive story.

We wanted our game to be appropriate for all ages, so we minimized any PG content. The game is overall quite lighthearted and spirited. While we do talk about darker themes of pollution and deforestation, we believe that these are harsh realities that people of all ages should face. Controls of the game are limited to WASD or arrow keys, mouse, and the spacebar, so they are relatively simple to grasp. We hope that our game will appeal to anyone with an interest in fantasy and nature. There may be a stronger appeal to people interested in preserving the environment.

 

In the ideation phase, we wanted to play around with a day cycle. This would allow for more lighthearted things in the day, with darker themes appearing at night. However, we decided that this transition should happen over the course of the completion of the game. Thus, our slice starts off with it in the night.

Figure 9. One of our very first iterations of the game. While some elements of our first iteration have translated into later iterations, our game has changed quite a bit. 

 

In our concept document, we talked about using the ‘e’ key as a universal interaction button. We decided against that as ‘e’ is a lesser used key across games compared to spacebar. Spacebar is mostly used for initiation and progression of dialogue for interactions. 

 

Our concept in regards to the story has been mostly consistent. The great tree is dying, and requires a healing salve to save it. To create the healing salve, the player must bring glass shards, special water, honey, and a special flower to a beaveress. We did change some methods of acquiring these items. For example, the special water was initially thought to have come from a river or waterfall, but we decided that a spring would better suit the forest environment. We also removed the vertical platform element of the game that would involve getting honey from the bees by climbing a tree. This interaction was replaced with a system in which you would have to interact with the bear to get a flower to trade for honey with the bees. We reasoned that it was important to have one of the sub-quests involve diplomacy with the forest inhabitants, rather than just coming in and taking things. The Lily of the Valley puzzle combines the flower’s natural glow with the game’s nocturnal theme.

 

Values

“Wandering” grew more out of a narrative and a desired experience, or aesthetic, than a particular set of mechanics. So, from the start we wanted to ensure that the mechanics we designed baked in the aesthetics which we valued.

 

Mechanic	Dynamic	Aesthetic
It is the elements of the forest itself which provide the magical cure for the Great Trees sickness.	Players think creatively about how objects in their environment can contain magic — they wonder at the power of nature.	“Wandering” takes place in a magical forest. Users feel immersed in a fantasy world that is both excitingly different from and instills in them wonder about the natural world.
The animal characters are larger than life, speak, and have familiar personality types.	Players are visually interested and amused by the characters, excitedly seeking them out even when not necessary for progress.
The player “wins” by collecting all of the necessary ingredients and restoring the Great Tree to its healthy form.	The player, even if consciously only interested in progressing, actively seeks ways to protect and heal the forest.	Players experience a narrative that conveys both the urgent crisis of our planet’s creatures and, even more importantly, our power to save it through the magic of cooperation and intention.
At the start of the game, the player must collect the glass littered around the forest floor to form a bottle.	The player is forced to actively seek out the ways in which human behavior damages the environment.
The honey puzzle requires engaging with a sequence of different forest creatures, battering with them.	The player and the characters mutually depend on and support each other. The player must cooperate with the forest, which emerges almost as a character of its own, and its creatures rather than exploit them.	The player feels fellowship with the forest creatures. While these are NPCs, this connection still resonates emotionally with players, enhancing gameplay and encouraging sympathy for real-world creatures.
The player is reliant on forest creatures for information about his mission and his goal is to help them. The fox must help the forest creatures to return home.

 

Game Scope

We settled on developing a slice of what we intended our game to be. An important quality of our game was the experience of fantasy — the magic of the forest; in order to be truly immersive we thought it was important to present a visually, auditorily, otherwise sensorily polished version of the game. This did mean exposing users to less of our narrative, another important quality of “Wandering,” but we were intentional about writing quality dialogue and making relationship building part of our slice to present a short, yes, but compelling narrative.

 

Our game fully-realized would feature several modules and components that consist of various storylines that feature the theme of human vs. nature. Notably, there would be a quest to save a dying tree, diseased from wanton human pollution, the story of a pond of fish who’ve mutated and gone feral due to hazardous chemicals in their waterways, and numerous side characters that both bring the forest alive but also communicate the breadth in destruction that has happened. 

 

For the purposes of our project, we plan to realize that first module: the quest to save the diseased Great Tree. Narratively, we have a beaveress, who serves as an archetype of the mentor as well as a speaker for the forest, narrating the deterioration of the great tree. It is vital for the fox as a symbol of human youth and innocence to fix human mistakes and save the tree. 

 

To produce a high-fidelity slice of our game, we have made custom art for every element in the game, as well as fleshed out mechanics for the quest to save the great tree. To save the tree, the player must find ingredients of a healing elixir and brew it. 

Testing and Iteration History

Iteration 0.

Summary.

May 6th, 2025. We’re playtesting a physical copy of the game that we had brainstormed prior in the past week. We’re at Lathrop 282, with a person running through a physical analog of our game for proof of concept and prototyping interactions with game NPCs. The five of us act are involved in playtesting, with each of us fulfilling a different role.

 

Guiding questions and post-playtest answers.

• How can we represent items or ingredients that make up the healing salve in real life?
  • A plant from outside is used as a flower
  • A ripped up image can be reassembled, representing the glass fragments
  • A water bottle and a water fountain outside can represent the spring
• How can we make the gameplay centered around exploration of the settings?
  • Have limited cues that are dependent on the player asking and interacting, even though they can be dead ends. 
  • Limited instructions allow for the player to make up their own directions, changing them based off of any positive interactions or information they gain when they do conveniently follow the narrative.
• How can we reliably convey the narrative, but also allow for unrestricted player movement?
  • Balance between instruction and inference. Allow for instruction in the beginning that communicates an overarching goal (heal the tree, collect ingredients), but keep it vague enough that to find out further steps, the player has to interact with everyone and everything
  • Have hints and dialogue that direct player’s next steps

Pluses.

• The coupling of the need of flower to bee was obvious. 
• The puzzle assembling to get to the water bottle (spring) was intuitive

Negatives.

• Player first tried to water the tree instead of the elixir
• Puzzle was surprisingly hard to solve, took a few minutes
• The bee had to give a hint to the player
• Some ingredients were picked up by happen-stance.

Changes. 

• Allow for more dialogue in the beginning, so that there is a main direction communicated
• Cues must be made more reliable; design of the characters should pop out more of their environment to encourage interaction. 
  • We decided to create animations to convey intractability and bring the place to life
  • One particular caveat is that  

Reflections.

• This was our first and last analog playtest. It was a good proof of concept considering the limited amount of time we had to create this. 
• Team vibes were good, this playtest required a lot of collaboration to bring to life, as well as the merging of a lot of brainchildren. 
• We hoped that a lot of our ideas would be conveyed in the physical analog, but playtesting in the classroom served a lot of distractions. While these distractions (other groups playtesting, non-isolated environment ) kind of added to the chaos of the experience, these elements wouldn’t be translated into the digital game.
  • We decided to make irrelevant elements to allow for some confusion and have the game be more than just a narrative, but rather a world. 

Figure 10. Tommy acting out a NPC role, trading with player for an ingredient to use.

 

Iteration 1. 

Summary.

May 16th, 2025. We playested in section with Ellie, our section leader. 

 

Guiding questions and post-playtest answers.

• Is the navigation mechanic intuitive?
  • Yes, WASD or arrow keys was intuitive enough for movement. Player learned that diagonal movement was possible by combining adjacent movement control keys
• Is there a good balance between mystery and clear direction?
  • Some things appeared to be more intuitive than others. The game needs tweaking to find that goldilocks spot. 
• Is the main gameplay followable?
  • Yes, the dialogue and interactions with characters allowed for the player to create a mental checklist of what they were looking for in the game

Pluses. 

• Fox is orange, good design
• Game objectives were completed

Negatives.

• Dialogue was commented to be “difficult to parse”
• Fox’s orange eyes were off-putting
• Bee design was jarring as they are pastel yellow
• Beaveress was confused for an otter

Changes.

• Art revamp
  • Candy changed colors of bees to be less jarring, added more color for more magical look
  • Beaveress was given clothes to look less so otter and add more character
• Dialogue was changed to be more streamline
  • Addition of more UI elements to make it more presentable and interactable
• Added inventory UI to keep track of items and ingredients
  • Ideally will help users understand where they are in the game

Reflection.

• Overall, this was a good playtest. We had valuable input on our first iteration of the digital game
• Art was relatively easy to change. 
• Need to continue working and flesh up the technical implementation

 

Iteration 2.
Summary.
May 23rd, 2025. We had two people playtest: Tesvara and Esaw. Playtests were done in section.

Guiding questions and post-playtest answers.

• Should the game be more directed, or more free-form?
  • There should be a balance. The free-form allows for the world to feel alive, but players still need some anchoring. A meta-puzzle structure was suggested to tie the smaller quests together.
• How can we make actions or events obvious as they occur?
  • Many players didn’t realize they could or should revisit characters. We need more feedback cues (animation, sound, dialogue callbacks) to encourage that.
• Are user actions driven by game dialogue or by instinct?
  • Mostly by instinct. Some missed dialogue or sped through it, meaning more key information needs to be embedded in the environment or UI.

Pluses.

• Inventory was intuitive to find for some testers.
• Puzzle was challenging in a fun way.
• Diagonal movement was discovered organically.
• People were excited when they recognized collectible items.

Negatives.

• Some testers didn’t notice they could re-talk to NPCs.
• The glass puzzle was hard without feedback or snapping.
• The map felt too linear or claustrophobic.
• One tester never noticed the inventory.
• The pathing suggested areas that didn’t actually go anywhere
  • One player argued that it removed the free-formedness of the world
• No feedback on how many shards to collect

Changes.

• Add feedback for item pickup using animations
• Add a glass shard counter in inventory (e.g., 3/14).
• Create snapping and visual silhouette for puzzle interface.
• Refine tree hitboxes so they don’t block the player excessively.
• Revise dialogue for clarity and pacing.

Reflection.

• This was a major iteration with meaningful feedback. We learned how much players rely on visual and auditory cues, and how important it is to support players’ instinctual behavior with better guidance. 
• The puzzle was a highlight, but needs UI polish. 
• Dialogue was missed by many, signaling that our narrative must be more seamlessly embedded into exploration.

Iteration 3.
Summary.

May 27th, 2025. Another round of testing focused on puzzle usability, navigation feedback, and inventory awareness. Three testers provided detailed impressions in class. 

Guiding questions and post-playtest answers.

• Is the UI understandable and accessible for different play styles?
  • No, not yet. Mouse-based interaction proved frustrating for some testers, especially on trackpads. There’s a desire for keyboard-first or alternate interaction options.
• Does the puzzle interface communicate success/failure?
  • Testers wanted snapping, an outline or silhouette, and sound effects to know they were on the right track.
  • Testers wanted a count for the number of glass shards to know when they have completed collecting all of them
• Are environmental cues helpful for navigation?
  • Mixed feedback. 
    • Some players followed paths only to find them misleading. 
    • Others explored freely but weren’t sure where they had or hadn’t been.

Pluses.

• Puzzle is engaging and satisfying to complete.
• Players naturally started with edges.
• Some began exploring without prompting
• Art style praised
  • “cute,” “mushrooms”

Negatives.

• Inventory often unnoticed.
• Unclear number of shards left to collect.
• Puzzle control felt frustrating without a mouse, using trackpad
  • Some people wanted to not have mouse controls at all
• Tree hitboxes are too large.
• Some players are confused by dialogue break/flow.
• Beaver’s chin looks like a mouth
• Tried to control z on puzzle
• Tried to find a sprint button

Changes.

• Highlight or animate inventory when item picked up.
• Remove paths entirely
• Allow puzzle snapping and add a silhouette background.
• Adjust hitboxes around trees.
• Add keyboard alternative to mouse-clicking “continue” (spacebar)
  • While there was some frustration with the usage of a mouse, we do not think that there is a better way to do some tasks that require the mouse. 
• Smooth dialogue transitions and consider adding branching or response options.

Reflection.

• This iteration helped us clarify where polish is most needed: UI feedback and input flexibility. Many of the puzzle and exploration frustrations can be mitigated with clearer scaffolding. 
• Importantly, players were still engaged and excited, even when they stumbled. Core loop works as intended

Figure 11. Playtester playtesting game in class.

Iteration 4.

Summary.

May 29th, 2025. We worked with a playtester in the remainder of the class. 

Guiding questions and post-playtest answers.

 

Pluses.

• Communication of the number of shards is clear

Negatives.

• Thought that the dialogue was too obvious
• Wanted to move faster
• Wanted field of vision to be zoomed out more

Changes.

• We zoomed out of the game a bit more
• We added music to the game
• Changed art on the great tree so that it appears dead in the beginning

Reflection.

Figure 12. Further playtesting in class

 

Iteration 5.
Summary.

June 3rd, 2025. We revisited key pain points: UI, player motivation, and worldbuilding clarity.

Guiding questions and post-playtest answers.

• How do we reinforce the player’s motivation and goals?
  • Dialogue needs more subtlety. Some lines were too on-the-nose. We should allow the mystery to grow while still signaling stakes clearly. One player wondered, “why should I care about you guys?” 
• Are we supporting different play styles (explorers vs. goal-driven)?
  • No, not fully. Some wanted to explore freely and interact with everything, while others needed clearer objectives. Both need better scaffolding.
• How immersive is the experience?
  • Sound and story-driven dialogue were requested. Some testers felt transported; others got stuck due to unclear feedback.

Pluses.

• Art is praised regularly
• Snapping suggestions for puzzles is noticed
• Requests for sprinting, zooming, and UI improvements are well recieved

Negatives.

• “Continue” dialogue button is unclear — needs a larger click area or alternate keybind.
• Some didn’t realize the tree was sick or that there was a puzzle location.
  Paths feel misleading.

Changes.

• Add sprint button and possibly zoom-out feature.
• Revise dialogue to include light mystery without heavy exposition.
• Improve “continue” dialogue UX — spacebar to advance, bigger button.
• Create stronger environmental and narrative buildup toward the sick tree.
  Sound system implementation: ambient sounds, dialogue cues, object interaction SFX.
  Begin developing an overarching meta-puzzle that unifies the ingredients.

Reflection.

 

• This round of playtesting pushed us toward refinement. The game is increasingly functional and evocative, but polish is needed to make the experience seamless. 
• There is strong potential for deep player engagement, but we need to reward curiosity with feedback and surprise, not confusion. 
• We’re nearing the point of adding flourishes and final touches
  • Animated scenes such as the great tree coming back to life, filling the bottle with water, crafting the healing salve

Figure 13. Playtesting in class.

Iteration 6. 

June 6th, 2025. We played with fellow residents and recorded a final playtest.

Reflection

Playtest overall went well. One of our members was an RA and we playtested with their residents. The video got corrupted somehow, so we playtested last minute with a friend. 

Since this was the final playtest, we decided not to make any more changes. Players were mostly happy with the game. If we had more time, we hope to build our slice horizontally and build more components of the game as described in our extensions. We would also hope to fix some small bugs as described in our bugs and issues section. 

Optional Additions.

Behind-the-scenes notes or bugs.

Issue 1. Spasmodic camera movement with continuous collisions

 

Our game has the camera follow the fox character as it moves around the game. While we do want the camera view to have the fox character in the center, collisions with game colliders induce a similar bouncing movement on the camera. Thus, when players continuously walk into a collider, they are repeatedly bounced back and forth. 

 

Possible solution. 

Since there are a lot of opportunities to collide with objects, we hope to mitigate this rapid movement by removing bounce off of collisions. Alternatively, we could implement a gliding camera mechanic, where there is a slight lag of the camera movement to follow the character. This will allow for more control of the camera, as it would be unattached to the character and only follow movements that we think should be reflected in the camera view.

 

Issue 2. Non-square item icons are warped in inventory description.

 

Item icons were created using Figma and then later imported to Unity. In the inventory description, we use these icons to show what items are in the inventory. However, some of the item icons are not square in dimensionality. Thus, when uploaded, the image is stretched and warped into a square, which can be visually unappealing. 

 

Possible solution. 

We have mostly opted to concentrate on other tasks, as we believe that perfection is the enemy of progress. One possible fix is to have the image icon in the inventory crop the icon so that dimensionality is preserved. Otherwise, we can reupload these icons and ensure that they are square according to our branding and styling guide. 

 

Issue 3. Trapped in the bushes

 

Certain elements in the environment have colliders that block movement. There is one particular bug that allows for the player to go between bush colliders, but they cannot get out afterwards.

 

Possible solution. 

Edit the colliders such that this does not happen.

 

Extensions.

Climbing the tree with the vertical platformer.

 

Narrative. 

As part of the slice, we wanted to integrate a vertical platformer as part of the quest to find honey as an ingredient for the healing salve. However, we decided to keep this as an extension as there was a lot of work left to still implement the platformer. We planned to have a big tree that holds the honey up in its canopy. Bees would buzz around the top, as the fox has to leap from branch to branch to climb to the hive. The fox would try to get honey to bargain with the bear for ingredients. 

 

Development. 

We wrote code that allows for scene switches. By entering an opened part of the map around the edges, the screen fades to black as the game transitions to a new scene. The fox character and the main mechanisms for walking in cardinal directions would be replaced with new mechanics. The fox would only be able to move left, right, and jump. Jump mechanics were implemented, as well as accompanying animations. 

 

While this module was mostly completed, we decided to reduce the scope of our project, as there were still features to implement and other work that took priority over. This extension is unique, in that it is less so what we hope to add to in the future, but rather something that was tangible, developed, but not yet polished enough to fully integrate into our high fidelity slice. 

Figure 14. Tree and fox assets in Unity as part of our 

attempt to make a vertical platformer.

Operation Deforestation

Narrative.
The trees in the enchanted forest have been under strain for a long time. Pollution has weakened them, eating away at their trunks and roots. One ancient grove, worn down past its limit, begins to fall. When you hear what’s happening, you rush to the scene. These trees are home to dozens of animals, and they don’t have long. You climb each tree as fast as you can, dodging falling branches and panicked creatures, trying to guide them all to safety on the forest floor.

Not everyone is looking to be rescued. A local owl meets you halfway up one of the collapsing trees. She refuses to leave. She wants to help. You work together, combining her flight with your agility to reach the highest, most precarious branches. As a team, you get every last creature out. But it is not over. As the final trees begin to fall, you lead the crowd in a sprint to escape the crash. When it is safe again, you bring the displaced animals back to the forest hub and ask the community to welcome them. They agree. The grove may be gone, but the forest grows closer, and the animals find new homes.

Development.
This module was never developed. It was one of the more ambitious narrative arcs we had planned. If it had been built out, it would have introduced a time-based escape sequence, a companion character with flying mechanics, and a final collaborative effort to unite the forest. The idea was to blend urgency with care, giving the player a chance to feel responsible not just for survival, but for community. We imagined complex platforming, vertical movement, and cooperative traversal with the owl as a temporary companion. While it remained a narrative concept, it offered a clear direction for how we could raise the stakes emotionally and mechanically in a full version of the game.

 

Figure 15. The owl is featured. When interacted with, she starts talking about climate change.

The Forgotten Train Station

Narrative.
In a quiet clearing deep in the forest, there’s an old train station. It has been abandoned for years. Vines crawl over the broken walls, flowers push up through the cracked floor, and rust coats everything. A single train car rests on the tracks, still and forgotten. But if the fox can fix it, the train could be used to travel across the map. The tracks branch off in several directions, hinting at areas that used to be connected and might be unlocked again. The space would feel quiet and heavy, reclaimed by nature but still holding onto a sense of memory. It would be a moment of rest and reflection in a game full of movement.

Development.
The train station was never built. It was one of the areas we planned for a complete version of the game, but it stayed as a concept. If we had finished it, this module would have introduced a fast travel system and an evolving repair mechanic. The fox would need to gather parts, fix the train car, and slowly bring the station back to life. Visually, it would have been striking. Still, overgrown, and full of small details that show what the place once was. While it never made it into the slice, we still think about it as one of the spaces that could bring a lot of character and heart to the world.

 

Quelling the Fysh Frenzy

Narrative.
This extension centered around a once-thriving pond ecosystem that became polluted over time, corrupting the fish who couldn’t escape. These mutant “fysh” have grown legs, lost their minds, and are now emerging from the water to terrorize the forest. The fox would be tasked with defending the forest and ultimately restoring the pond to its original state. Gameplay would involve eating fysh from behind before they can slap you with their front flippers, progressing through waves of increasingly large boss fysh. At the end, the fox would face a massive koi guarding the leaking pipeline. You’d need to dodge its attacks while sealing cracks in the pipe, restoring the water and the koi’s sanity. With the pond cleaned, the fish return to normal, and the fox collapses into a well-earned food coma.

Development.
This module was fully conceptualized and narrative-driven, but we ultimately didn’t implement it due to time constraints and the scope of our current slice. The extension would have introduced new combat and boss mechanics, as well as a multi-stage finale that mixed action and puzzle-solving. While we didn’t get to build it out, the fysh frenzy remains one of our favorite ideas and something we’d love to return to. It offered a unique tonal shift, more chaotic and action-heavy, while still fitting into the world’s logic and environmental themes.

Design Sketches. 

Figma art.

 

Word Cloud.

 

Collection of words commonly found in our ideas document and design process. Overall, there is a strong emphasis on light, fantasy elements. 

 

Recurring themes.

As part of the brainstorming process, we met at Wilbur dining and ate together. As we were talking, we had our combined playlist play in the background as we iterated on each others’ ideas and commented on our respective visions of the track songs and how they tie into the game. We documented summaries and the vibes we wanted to communicate.

1. “Wade” – Clairo

Summary: A dreamy, introspective track about emotional distance and struggling to connect.
Vibe: Intimate, wistful, hazy.

2. “Carry Your Load” – Carole King

Summary: A warm offer of support—inviting someone to share their emotional burden.
Vibe: Comforting, grounded, soulful.

3. “Bitter with the Sweet” – Carole King

Summary: A gentle reflection on embracing life’s emotional highs and lows.
Vibe: Reflective, resilient, softly uplifting.

4. “Constellations” – Jack Johnson

Summary: A nostalgic look at young love and stargazing simplicity.
Vibe: Breezy, peaceful, romantic.

5. “Leaves That Are Green” – Simon & Garfunkel

Summary: A melancholic meditation on the passage of time and changing relationships.
Vibe: Poetic, autumnal, contemplative.

6. “Papa Hobo” – Paul Simon

Summary: A quirky portrait of a down-on-his-luck figure with vivid, ironic lyricism.
Vibe: Offbeat, folksy, subtly ironic.

7. “Wyoming” – Elijah Fox

Summary: A brief instrumental that paints wide, serene landscapes in piano.
Vibe: Meditative, cinematic, airy.

8. “half return” – Adrianne Lenker

Summary: Sparse and emotional, capturing the ache of departure and emotional vulnerability.
Vibe: Intimate, aching, raw.

9. “Go As a Dream” – Caroline Polachek

Summary: A surreal track floating between memory and fantasy.
Vibe: Hypnotic, otherworldly, delicate.

10. “Devon” – Grimes

Summary: A glitchy, mythic ode wrapped in synthetic textures.
Vibe: Futuristic, eerie, mystical.

11. “Cinnamon Bread” – Ryan Beatty

Summary: A tender piece capturing domestic intimacy and emotional honesty.
Vibe: Cozy, nostalgic, vulnerable.

12. “Look at the Sky” – Porter Robinson

Summary: A cathartic anthem about hope and endurance.
Vibe: Uplifting, emotional, radiant.

13. “Greenpath” – Christopher Larkin

Summary: A mystical, light-hearted theme from Hollow Knight, full of organic curiosity.
Vibe: Whimsical, serene, softly adventurous.

14. “O Magnum Mysterium” – Morten Lauridsen

Summary: A sacred choral piece radiating awe, wonder, and stillness.
Vibe: Luminous, reverent, transcendent.

15. “Merry Go Round of Life” – Grissini Project

Summary: A romantic reinterpretation of Hisaishi’s iconic waltz from Howl’s Moving Castle.
Vibe: Magical, nostalgic, dreamlike.

16. “The Mercy of the Wind” – Million Eyes

Summary: A cinematic short piece, full of sorrow and softness.
Vibe: Melancholic, ephemeral, delicate.

17. “Once Upon a Dream” – Invadable Harmony

Summary: A haunting, fairytale reinterpretation of the Disney classic.
Vibe: Enchanted, eerie, bittersweet.

18. “One Summer Day” – Joe Hisaishi

Summary: A gentle, emotional overture to Spirited Away that feels like a beginning.
Vibe: Tender, nostalgic, quietly emotional.

19. “A Town with an Ocean View” – Joe Hisaishi

Summary: A hopeful, bustling track that captures movement and excitement in a new place.
Vibe: Breezy, cheerful, curious.

20. “The Flower Garden” – Joe Hisaishi

Summary: A romantic interlude full of warmth and bloom.
Vibe: Lush, pastoral, dreamlike.

21. “The Girl Who Fell From the Sky” – Joe Hisaishi

Summary: A magical descent, balancing melancholy and wonder.
Vibe: Airy, wistful, mysterious.

22. “Dreamer” – Laufey

Summary: A ballad about hopeless romanticism and longing for an imagined love.
Vibe: Elegant, melancholic, vintage.

23. “Melting” – Kali Uchis

Summary: A sensual song about surrendering to infatuation.
Vibe: Dreamy, slow-burning, romantic.

24. “Iruna Etelero: Lindel’s Song” – Gabriel Rodriguez

Summary: A wistful, elvish piece that feels like a goodbye in a fantasy novel.
Vibe: Ethereal, nostalgic, sacred.

25. “Dance of the Sugar Plum Fairy” – Lindsey Stirling

Summary: A playful, crisp violin take on the Nutcracker classic.
Vibe: Magical, bright, twinkling.

26. “Tango Para Mi Padre Y Marialuna” – Ashram

Summary: A passionate tango that feels like a memory ritual.
Vibe: Cinematic, emotive, intimate.

27. “Here” – JUNNA

Summary: A powerful, orchestral anime theme full of fear and strength.
Vibe: Dark, majestic, emotional.

28. “Song of the Caged Bird” – Lindsey Stirling

Summary: A violin ballad about longing for freedom and transformation.
Vibe: Mournful, graceful, redemptive.