LE CIRQUE WEBB
Le Cirque Webb is a linear exploration game that raise awareness of the use of Dark Patterns in our everyday life. The player will move forward through the game while collecting stamps to reach the main attraction : the Ferris Wheel. To do so, the player will use a ball to win different mini-games, explore and find hidden tokens or sell his private information.
WHAT IS A DARK PATTERN
Dark Patterns are tricks used in websites and apps that make you do things that you didn't mean to, like buying or signing up for something. When you use websites and apps, you don’t read every word on every page - you skim read and make assumptions. If a company wants to trick you into doing something, they can take advantage of this by making a page look like it is saying one thing when it is in fact saying another.
MAIN TASK
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Create the blocking layout
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Create compositions
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Place key lights to guide the player
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Place NPC’s and their path, then choose appropriate animations
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Create low res meshes or sketches to better explain my idea
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Determine the necessary assets for the project and their priority level
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Test the game: Collision, readability, bugs, dialogue flow
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Organize playtest sessions and give the results to the team
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Do the set dressing of Level 01 and contribute to it on other levels
FROM A SPIDER WEB TO A LINEAR PATH
FINDING THE RIGHT LAYOUT
During my shape exploration, I was inspired by the spider theme from the DA team, so I first drew a spider web for the general map shape. That shape was interesting since the ferris wheel (objective) could be in the center: it would be visible from any position and act as a great landmark. The map also offered two path options from the start and gave the player a sense of possibility, that would perhaps lead to hidden tokens.
At the blocking phase, we realized that the team velocity couldn't meet our expectation for a more open level, so I went with a more linear layout. Although, I still wanted the player to have a sense of freedom.
BREAKING THE LINEARITY AND DEALING WITH A BUSY ENVIRONMENT
To reach that sense of freedom, I had to break the linearity. To do so, I created nested zones, I used the ferris wheel to foreshadow the final objective and I placed obstacles to make the player go around the space.
I divided the map in nested zones to limit the visibility of the player and concentrate their attention on certain elements. The curve layout of the map already limited the view, but I also put an arch entrance, a fence or a stand to create delimitations. The middle zone was created to break the repetitive task of playing mini-games. I subdivide this area even more to really create micro areas that felt different and allow the player to explore and get to see the posters, to be forced to buy a drink/plush or to find hidden tokens.
I placed the ferris wheel so that the player would see it from the start. It foreshadows the final objective of the game and it's a great landmark that leads the player towards it. At some point, the path leads the player away from the landmark to emphasize the distance between the player and the final objective.
To create small alternative paths, I placed different meshes in the way, so the player would need to go around it to explore. Like the statue at the entrance that gives the player the option to go left or right of it. Fences and benches were also a great way to block direct access and help create the nested areas.
HOW I ADDED DEPTH TO THE NARRATIVE WITH THE LEVEL DESIGN
In this level, we wanted to illustrate the bad side of the Dark Patterns. To make sure the player would understand the narrative direction, I staged the area in a more restrictive way. Putting a narrow corridor helped me better control the narrative. First the player faces the owner's statue and then they see the trapped visitor and their camp. This creates a contrast between the strong figure of the owner and the struggling visitors.
TARGET ADVERTISE AND HOW I MAKE SURE THE PLAYER SEE IT
CONSPICUOUS POSTER
To play the stand mini-game, the player needs token currency. That currency is available at the bank in exchange for personal information. When giving information, the player's choice then appears on the poster as a targeted advertisement. There are a lot of posters scattered around to make sure the player can't miss it.
Even so, too many playtesters missed it during playtests. Since it's a core experience of our game, that needed to be rectified. We added the color change to the string light, the garland and some key words during conversation. More playtests showed that a lot of players still didn't notice. I added one to the frame while talking to the Banquier, so the change would happen right in front of the eye of the player to make sure they understood and knew what is going on.
BLATANT FOOD AND PLUSH STAND
We use the plush and the food stand as a representation of a Dark Pattern where it's purposely designed to purchase something without your knowledge or by mistake. The plush and drink also change depending on the information you give to the bank to push the targeted advertising effect.
I create the middle area as resting and exploration zone for the player to break the repetitive task of playing stand. It was designed to be cheerful and full of NPC to encourage the player to explore.
The original version had way more plush/food and was so busy that the player didn't really notice what was in there. I reduced the number of plushs to clear out their silhouette and scaled the mesh up to make them more visible. The food stand was still ambiguous to a lot of playtester, so I added posters all around it, so the player could easily link the advertising to the product in front of him.
HOW THE LEVEL DESIGN HINT THE PLAYER FOR HIDDEN TOKEN
The hidden token box is an alternative way to play through the game without having to give information away. To guide the player in the right direction, I used the kid as a hint so whenever there is a hidden token, a kid is nearby.
HIDDEN TOKEN BOX 01
We can see the Box in between the wood planks at the back of the bank.
On the main path, there are two kids discussing a hidden token box in the area. The kid with the dialogue was originally on the opposite side of the map and most players missed the hidden box.
HIDDEN TOKEN BOX 02
The box is visible through the wall in the back of the second shooting stand. A light shines on the toilet, which allows access to the box. There is also a kid walking around the area and another kid lurking through a toilet door to hint to the player that the door can be opened.
HIDDEN TOKEN BOX 03
The box is visible behind the vendor at the food stand. A broken wood plank entices the player to look in that direction. If the player missed it, the box can be seen through the wood planks while playing at the third shooting stand.
HIDDEN TOKEN BOX 04
There is a kid to hint to the box, but the kid alone wasn't enough to guide players through it, so I add the string lightbulb to contrast in the environment and attract the player attention.
HIDDEN TOKEN BOX 05
There are 2 kids walking on and off the stage to make sure the player always sees at least one of them. Players were really attracted to the camp, so I placed it to be quite easy to spot.
HIDDEN TOKEN BOX 06
The box is hidden in the information kiosk. The player can see it through the plank and the spider web. There is a spotlight on the entrance door and two kids sitting at the start of the waiting line. Originally, the spider web was a wood plank, but most players missed it.
COMMUNICATION
LE PAIN TRANCHÉ - CREDITS
Frédérik Généreux - Character Artist and Musical Composer
Geneviève Alexandre - Environment Artist and Texture Artist
Laurence Sansregret - Character Artist
Lucas Farias Tousignant - 2D Artist and Concept Art
Marion Peres - Character Artist
Roxanne Ross - Ui Artist
Stéphanie Roberge - Texture Artist and Environment Artist
Vianney Cortés - Environment Artist
Vincent Graciet - Texture Artist et Lighting
Maxime Grondin-Leclerc - Programmer
Francis Tremblay - Programmer
Vincent Blais - Programmer
Pauline Patie Pelicaut - Sound Design
Marc-Antoine Dias - Sound Design
Nicolas Vön Moreau - Sound Design
Antoine Lussier - Sound Design, Mixing and Mastering Engineer
Special thanks to our professor Pierre Tousignant, Yannick Francilette and Félix-Antoine Lauzon for all your advices.