Category Archives: escape rooms
No, really. I adore them. Unfortunately, it’s not because I am incredibly adept at using them to organize my life. It’s because they can be a very powerful narrative tool. Over the last couple of years, I have really come to appreciate the story telling power of that little yellow square. In fact, in my most recent project, I have begun to use them as a way to shorten what are otherwise lengthy passages of text.
I will admit. I am someone who struggles with…efficiency in her writing. This blog is proof of concept for that idea. There I will be, trying to write a journal passage at 200 words max and suddenly it’s 1,000. I recently submitted a magazine article where the editor told me not to worry, I had PLENTY of words at 1,250. I hit the limit halfway through my article.
Then it occurred to me. What if I took those long, meandering journal entries, and tried to distill their essence onto a single post-it. Would I be able to get the same information across limited to a few words?
It’s not like it’s a new idea. Years ago the game Gone Home (and yes, it’s old now, but it set the bar for so much environmental storytelling) introduced the concept to me. In the game you find a book with a single post-it note on it.
Now, the post-it note works in conjunction with the book. The book tells us our main character might struggle with making friends. The post-it tells us everything we need to know about who wrote this and what the state of their relationship is. From the post-it we learn Sam’s dad bought her a book. We can infer that her dad cares about her very much but has a tough time relating. Note that it doesn’t say “Love, Dad”. He obviously has trouble actually talking things through with his daughter. He would rather leave the book on a table with an explanatory note than actually talk through his daughter’s struggles face to face. But the fact that he did anything indicates he does care very much.
All of this from a book and a single post-it.
Now let’s shift to escape rooms. Let’s pretend we have a teenage character here as well. You approach a locked door. Earlier, you found a diary, a natural thing for a teenage girl to have. Inside, you find an entry:
Ugh. Dad is so annoying. He keeps barging into my room without my permission! Doesn’t he have ANY boundaries? It’s SOOOO embarrassing to be on a video call with my friends and have them watch him barge into the room and ask about my laundry. My LAUNDRY, for crap’s sake! He even brought up me getting taco sauce on my shirt! I bet everyone thinks I’m some slob now! Ugh! I don’t even know what to do. If he just knocked, it wouldn’t be so bad. It’s just common decency to ask permission before you enter someone’s private space!
The entry itself is not that long, but it’s a lot of details to parse through and, as with a lot of journals in escape rooms, it’s often only one person reading it. You can’t guarantee what details they are going to pick up on. Are they going to focus on the taco sauce? The laundry? Will they pick up the fact that this girl just wants her dad to knock? Maybe. Maybe not.
What if instead of writing a description in a journal, there was a single post-it on the door instead. All it contains are the words “Sarah’s room. Knock first! (that means you, Dad!!!)”
What does this get across? We have a character name: Sarah. We have a relationship: she obviously has a somewhat antagonistic relationship with her father. We have a tone: Sarah is annoyed. Most importantly, it gives an action: knock. Because the post-it is right on the door, most players should be able to see it.
This brings us up the “Need to know”, “Nice to know”, “Superfluous” rules of narrative design for games. What do the players need to know? They need to know to knock to progress the game. They know the owner of this bedroom is named Sarah, which might be important later.
What is nice to know? Sarah lives with her father and is annoyed at him. It’s not necessary for the story to progress, but it does add important character information to the narrative and can enhance the experience.
What is superfluous? I left out information on the Zoom call, the laundry talks, the taco sauce, and her embarrassment. The embarrassment should be evident in the tone. The rest of it is great for designers needing to flesh out a world, but serves absolutely no purpose but to reinforce what the players already know. And in a timed environment like an escape room, efficiency in narrative is key.
At this point, the players might knock on the door having been hinted by the post-it, and the door will open automatically. In my dream world, this is a haunted house game and it’s the ghost opening the door. But it could be used in other contexts as well.
How about another example?
Let’s say you are in a bank. There is a thick manual on what to do in case you forget your password. The process is long and involved, and it’s not entirely clear what section of the manual you need to go to. Perhaps though you find a post-it on the front of the manual: “Jay! Forgot your password AGAIN?! Just go to page 50. You’re lucky I love you. Jack.”
Now we’ve added a bit more flavour to what would otherwise be a tedious searching task. We now know immediately where to go and get a sense of what these two characters mean to each other.
This is not to say that post-its have to be littering your room. But it’s a good exercise to do yourself. It might help you figure out how much of the reading your players have to do could be cut down, or even how much of an audio monologue is actually superfluous information.
There are things to consider when writing your post-it narratives: who is the post-it from? Who is it being written to? What is the purpose? What does the sender want the receiver to know? How do they feel about what they are saying? Exclamation points can get across just as much emotion as a five-minute monologue.
Look at your narrative. Look at all of your narrative devices (books, journals, screens of text, audio monologues, etc) and give yourself a challenge: can you fit your story beats onto a post-it? How much can you still get across without having more than handful of words? You might surprise yourself on how little of the story you lose.
I’m sitting in the hotel lobby writing this up. All around me tired but happy enthusiasts are bidding each other goodbye as they head to a flight or an escape or to take in what Boston has to offer. It has been a whirlwind trip, and it’s definitely a bittersweet ending as I’m definitely wanting more but also craving holing away with some garbage TV for a while.Read the rest of this entry
The first official day of RECON has passed. I am exhausted but very satisfied. There is SO much to talk about!Read the rest of this entry
I’m BAAAAAAAACK! And travelling no less! To Boston! For RECON (Reality Escape Convention)! For the past two years, RECON has had to be a virtual event due to that big event we all have ingrained in our brains by now. This year though they were finally able to have it in person, and so far I am so glad I was able to come!
I was a bit nervous to travel again, more because of getting to places on time than COVID nerves. Luckily it was a series of fortunate events and the flight and customs were pretty smooth. But enough about that, time to get to the fun stuff!Read the rest of this entry
Back when I was acting more often, I was in a Fringe play in Toronto. I was 25, and soaked up every project my hungry acting soul could consume. This one was particularly exciting. Like most Fringe shows, it was an original script, something I had never encountered outside of terrible university shows. It was also my first time doing something semi-professionally, and the anxiety of making a fool of myself in front of swarming throngs of judgey theatre critics was strong.
There was one line in particular I simply could not seem to deliver properly. For weeks, I had been struggling with it. The director/writer was extremely patient with me, giving me some direction, even trying to do a line reading. But no, every time the words came out of my mouth, they sounded like an elementary school kid trying to be an adult…or maybe it was the other way around.Read the rest of this entry
So two weeks ago I finally saw Spider-Man: Into the Spiderverse. Yes, I know. I’m more than slightly late to the game here. Part of it was intimidation of my Marvel fan friends (they can be intense). Part of it was my fatigue with Marvel and Spider-Man movies in general. A very small and petulant part of me simply didn’t want to get on the hype train. Whatever the reason, the important thing is that I saw it!
And I. Am. OBSESSED.
Yes, the hype was real. Despite knowing only the very basics of Spider-Man, I was still in love with this movie. And there is a lot to love. The ground-breaking animation, the engaging characters, the humour, the heart, everything was almost pitch perfect in execution.
But there was one scene in particular that caught my eye. And I’m not talking about the “What’s Up Danger” sequence…although that is an incredible sequence, and it definitely took my breath away and I may or may not have that song on my jogging playlist now so that I too can feel like a Spider-Person while I huff and wheeze my way down the street.
No, the scene I am talking about comes almost exactly one hour into the movie. It lasts approximately thirty-five seconds. And it is an excellent example of what we could be doing with our escape room intro videos.
I am talking about the Kingpin backstory reveal. Spoilers ahead for…well…a very tropey backstory, I guess…Read the rest of this entry
It’s been three months since my city locked down. I’ve had to adapt to working from my dining room chair and lining up with anxious citizens outside a grocery store.
Likewise, Escape Rooms have had to pivot to try to survive the next few months. How successful they are is still up for debate, but it has resulted in some interesting new trends that are becoming the new norm.
Now is a time of uncertainty. But it is also a time of opportunity. Innovation is often born out of limitations. There are creative mines to be delved here. I wanted to dedicate my next few entries to some of these trends and narrative possibilities: what’s working, what’s not working, and what we could be doing with the time we have now.
The first thing to talk about is one of the first things escape rooms decided to employ: the remote avatar.Read the rest of this entry
The holy grail of escape room narrative is having a seamless integration of puzzles and story. This is difficult to say the least. The very presence of puzzles in a narrative already is somewhat unnatural. Ideally, the puzzles at minimum tie loosely with the theme. The rest is a suspension of disbelief on the player’s part.
This is fine, but there is always room to evolve. Attempts to make puzzles more natural usually involve making them simpler and more task based. It makes sense to do it this way. For a natural narrative, puzzles that could actually be found in the natural world is the way to go.
But what about difficult puzzles? Those “aha” puzzles that involve finding patterns in constellations to find a passcode for a computer? Surely there is no way to make narrative and puzzles seem like one when they involve so many illogical steps.
Okay, let’s talk about Myst.
“Immersive” is definitely a buzz word that has been growing in popularity in the escape room industry over the last few years. Designers and companies strive to make their players feel immersed in a world. There are many discussions of elaborate sets, seamless technology, and environmental storytelling.
But there is one tool I have rarely seen discussed: music.
Music has shaped so much of our art and entertainment. Whether it is opera, film, or video games, I doubt there is anyone who can imagine these mediums completely devoid of music. It lets us know how to feel. It helps tell the story. It builds the world. It is one of my favourite parts of the entertainment I consume. And yet I rarely see it discussed in escape rooms.