Midnight Witch Starlight
Narrative & Level Design, then Design Lead | 2D run & gun game about a fake magical girl anime from the 90s | Custom engine | Team size: 11-15 | Worldbuilding, lore, character profiles, example dialogue | Led the charge in revising the game aesthetic & theme
Midnight Witch Starlight is a 2D sidescrolling run and gun game inspired by 90s anime about a magical girl fighting against the forces of darkness, made in my first big game project class that would span for two semesters, leading to a development cycle of eight months.
However, I was rapidly promoted to be the game’s Design Lead after another designer that was working on Systems, UI, and UX had to leave during the Spring semester half of the dev cycle. We did hire some additional people for other roles, but for the rest of development, I was the sole designer for the entire game. It was really tough to have to juggle every single discipline at once, but I had my team with me. They helped out in making the process of building the game in a custom engine as easy as possible. It may be a little bit around the edges, but we still managed to pull through in the end.
Switching Gears
I was the Narrative and Level Designer for Tuxedo Toucan, the team behind the game, until I got rapidly promoted to Design Lead. Originally, the game was titled MagiCraft, until we as a team realized that we needed more to stand ourselves out and to make the game make more sense, since you don’t exactly “craft” in this game. It was then that I decided to lead the charge in changing the game’s theming, transforming it into what it is now. I wrote down the general aesthetic the game needed to match, character backstories, sample dialogue between them… I even designed the initial draft of the game’s new logo!
Valery North is a writer and game designer who created games like Pivotal Destinies, Our Deeds Worthy of Song (Honest!), and Waning Words. Hae is also the creator of the Balanced Integrated Attributes System, shortened to BInAS, used for Pivotal Destinies.
The basic premise of BInAS is that stats are divided into pairs of opposites; things such as Strength vs. Dexterity, Wisdom vs. Intelligence, Physical vs. Magical. Each pair has a “pivot” that you place on a set of numbers and determines how good you are in certain areas. When it’s time to roll for a skill, you must roll higher or lower than your pivot depending on which stat of a pair the game is asking for. This sort of balance is, frankly speaking, literally the thing I needed most and the sort of thing that would be perfect for MNESIS.
So I downloaded the System Reference Document, I read through Pivotal Destinies to get a grasp of the system in action, and I got to work. As I did, I chatted with Valery over Bluesky from time to time to discus the specifics of the system and asking for any feedback on the game. By then, the game’s bones came into form: stats are named after emotions, and each pair of stats focused on a specific type of action (physical, mental, social, resilience).
The Magic of Magic
(among other things)
Finding the right system is one challenge. Trying to make the actual magic system is another.
As mentioned, magic in this game is rooted in memories and emotions. Specifically, it uses one of eight based on Plutchik’s Wheel of Emotions: Joy, Sorrow, Fury, Terror, Vigilance, Surprise, Enmity, and Trust. The question is, what does this magic even do?
For starters, I thought about all the different schools of magic and what they all specialize in, using Dungeons & Dragons 5th Edition as a base. They had abjuration (protection), conjuration (creation), divination (learning), enchantment (manipulation), evocation (using energy), illusion (trickery), and transmutation (changing). I tried to expand from there, looking among other sources online to see if anyone has any other types of magic that I might be missing, only to discover that so many people have so many different types of magic for very specific circumstances. Wanting to make spell creation not an arduous task, I decided to make everything simpler but still allow players to have as much freedom as they can find. So, I boiled everything down to the barest of barebones.
Magic can do one of four things:
Add to the world (creating, healing, enhancing)
Remove from the world (destroying, damaging, debilitating)
Change something (transforming, moving, manipulating)
Keep something the same (protecting, blocking, preventing)
I also wanted the magic to have at least a few loopholes involved, too. That’s why I decided to include different levels of examples to give players an idea of what’s possible or what is considered “fair game.”
The potential overlap between spell types wasn’t 100% intentional, but it also wasn’t completely unintentional.
Of course, even if this is mostly freeform, there still needs to be a bit of balance just so everyone doesn’t have nukes on hand, even if everyone makes the agreement to not just have nukes on hand. True to life, we all have some memories that are easier to remember or more formative than others. So, why not rank spell strength based on that? But still, it’d feel a bit impractical or limiting to have the strongest memories affect everything and deal the most damage. So I came up with a solution: depending on the strength of the memory, you have different “maximum values” for certain parameters that you can choose from.
All spells start at the minimum value for each of four parameters: Number, Duration, Range, and Health. When making a spell, you select three of them to use and/or alter. Depending on the memory type, you have different ranks for each parameter available to you. So, a “Major” spell’s Number parameter can be either “Single” or “Multiple.” It just depends on what the player wants for their spell.
The only catch is that all the parameters must be obeyed. If a spell says that it targets a whole area, you have to use it on an area. You can’t just single out one person unless that area of effect only has that one person.
And finally, memories are about things or people or feelings. It’s how we remember how skilled we are at a thing, how we remember a relationship, or just how intense something felt at the time. A memory should have purpose beyond just being fuel for your magic. They should do things besides that, and casting those spells should be a mechanical sacrifice besides just forgetting something and roleplaying it. It’s for these reasons that memories have “enhancements” and “drawbacks.”
When making a spell, you write down what happens in the memory and you choose one of three options to give you a bonus and a different one to give you a penalty. As long as the spell is still in your arsenal and hasn’t been used yet, you have access to all the good and bad that comes with it.
And of course, when you finally decide to cast the spell and “burn” the memory attached to it, you have to actively destroy it. All spells are written on flash cards (or flash paper, if possible). You have to tear it, crumple it, burn it, whatever. Unless there’s a way to remember it, the memory is gone forever. This is here to help the “ludonarrative” aspect of it, to really get players in the mindset of the world around them and make them feel like they are losing memories without actually doing so.
The intent of the game is to use flash paper, as within the game’s world, magic is stored in items that look like polaroid photographs. When used, the items burn and melt away like old film reels do. So, the players use the flash paper for half of its intended purpose: to burn it. Granted, it can be a bit dangerous playing around with fire in this way, so there are alternatives to destroying the spells or even the material they use.