Introduction

Idol Manager is a game in which players hire idols, release singles, manage events such as concerts and world tours, in order to build their ideal music franchise. Players need to manage finances, idol stamina and health, along with ensuring idols are satisfied and not being bullied.

The game is available on Steam at this link: https://store.steampowered.com/app/821880/Idol_Manager/

Gameplay demo: https://www.youtube.com/watch?v=LHFcXG9Mg9g

The Elemental Tetrad

Mechanics

These are the main mechanics involved in the game:

1. Idol stamina. Management of stamina is crucial, because stamina translates into money – everything that idols can do to make money for the company requires stamina, be it practising and improving skills, holding performances or recording singles. If mismanaged, idols can become injured or even depressed, costing the company financially and in reputation.
2. Idol and staff abilities. Due to the aforementioned idol stamina, the player needs to decide how much time and money to invest into improving their idols’ skills – higher skills will lead to higher popularity with groups of fans. This comes with the opportunity cost of making less money for the company in the short-term, due to the usage of idol stamina. Furthermore, idols do graduate eventually, which means that the investment into skills is only a medium-term affair. Idols also have traits, which can be helpful or hindering, and add another dynamic to the management of idol stamina and relationships.
3. Idol potential and auditions. While idols can practise to improve their skills, the potential mechanic means that they take a significantly longer time to make any progress once any of their skills reach their potential. Idols are grouped into several categories: normal, bronze, silver, gold and platinum. Idols with better potential categories can greatly improve their skills and become world-class performers. The more money a player spends on auditions, the better their chances of signing such performers.
4. Fan demographics. There are many options in the game allowing the player to make the kind of music they want, such as genre choice, choreography and vibe. These choices influence the fan demographics that the player’s idol group has. The demographics are further divided into casual and hardcore fans. Casual fans can come in significant numbers, but will make fewer purchases and be less interested in niche genres and choreography. Hardcore fans love these, on the other hand, but there are much fewer of such fans. The player can choose to appeal to a wide audience or specialise in certain flavours, but there is a reward for having a clear direction for their fanbase.

Story

There is a story to Idol Manager which is somewhat secondary to the main gameplay mechanics. The sponsor of the company is attempting to shed his shady past. His daughter (relationship unknown to the player for most of the game) has a rival company and serves as the main antagonist, yet is a mostly likeable character. There is a branching storyline based on what tasks the player chooses to do – for instance, should the player help a freelance reporter with her stories on several occasions, she will be available as an idol in the game.

Aesthetics

The game is mainly made out of menus, dialogs and 2D sprites decked out in bright, inviting colours and an attractive but unassuming font. The main office features pixel art and simple animations. There are some cutscenes showing visual novel style aesthetics, again featuring simple animations but high quality 2D anime-style art. These visuals make it easy for the player to navigate through the options in the game, while enjoying the occasional visual surprise brought by the cutscenes.

Technology

Idol Manager is technologically simple, with keyboard and mouse controls for the menus and very basic interaction between the player and the game. To my knowledge, the game does not have or need advanced rendering techniques, as it is simple enough to run well without expensive hardware.

Lenses

The Lens of Pleasure (#20)

Idol Manager causes a player to be invested in their idols. When an idol wins an award, it is a satisfying accomplishment, further rewarded by the bonuses brought about by the accomplishment. The player derives significant pleasure from developing their idols, managing them well and leading them to greater heights.

There is a missing piece of the puzzle though, as the placing of the idol in the world of idol manager is not known. It would be even more satisfying if there were idol rankings that the player could hope his idols would feature, as there are in real life.

The Lens of Endogenous Value (#7)

Idol Manager perhaps places equal importance on idol skills and staff skills. Thus, each of these are seen as extremely valuable. With the best staff, even the worst idols can be developed. With the best idols, the company can be carried on their shoulders even as the staff slowly develops. Interestingly, the player is most motivated by finances at first, as it is very easy for the company to fail in the early-game. As the player gains financial stability, though, the focus becomes on the player releasing the best music possible, which means the player will shift their focus to developing the skills of the staff and idols.

The Lens of Meaningful Choices (#39)

On a less insightful scale, the player does make decisions when random PR hiccups happen – damage control is needed on the part of the player. This is somewhat superficial, as the events are pre-programmed and the player can know what the best decision is. On the other hand, the gameplay mechanics are rich enough such that each choice the player makes – hiring talent through various types of auditions, choosing established staff over rookies, making popular but generic music versus making polarising tracks – decides the path that the player’s company takes, and the player feels in control.

The Lens of The World (#84)

In the world of idol manager, the player is able to assume the role of an idol franchise manager, which is unlikely to happen in real life. The player gets to become invested in the idols he manages, through conversations with the idols (including romancing, though rarely so), developing them and making them successful. However, when these successes are obtained, the world becomes rather one-dimensional with no evidence that a franchise has truly become successful, such as fan-interaction, show appearances, cult status etc. Furthermore, it can be hard to believe that there are other competing franchises in the world, aside from some generic song names sharing the monthly hits charts. While there are some elements of the world that are rich and enjoyable, it is largely not dynamic enough to be truly believable in the context of idol management.

Conclusion

Overall, Idol Manager is a challenging and rewarding game where the idols truly shine, and the fun of the game is in the rise to the top. That being said, it can be one-dimensional once the peak is reached, though the player can just choose to start with all new idols (but now with well-equipped staff and facilities).

Introduction

https://store.steampowered.com/app/1384160/GUILTY_GEAR_STRIVE/

Guilty Gear Strive (GGST) is a 2D anime fighting game developed by Arc System Works. The game was released in June 2021 and is the latest game in the Guilty Gear series. It is currently one of the top 3 traditional (1v1) fighting games on Steam alongside Tekken 7 and Street Fighter 5.

The Elemental Tetrad

Technology

What sets GGST apart from other (older) fighting games is its smooth online experience thanks to rollback netcode. Players are no longer stuck playing offline with consoles or at arcades, and you can actually fight your friend from another continent without lagging to the moon. I love you rollback.

Netcode? What?

I don’t want to spend an entire page explaining delay vs rollback so here’s an answer from a dude from quora:
https://www.quora.com/How-does-rollback-netcode-work-for-fighting-games-and-why-is-it-considered-better-than-other-kinds-of-netcode

Mechanics

As with most fighting games, its core mechanics revolve around “rock paper scissors” type interactions. Players get to mindgame each other by mixing up their offensive options, striking high when the opponent expects a low, blocking an attack to counterattack, throwing someone that has been conditioned to block, mashing an attack button when expecting to be thrown, etc. It all sounds easy but is hard to master, and honing your skill is the name of the game. As you master your offense and defense, one day, you will go toe to toe with fighting game veterans that have been with this genre for years.

While GGST has some relatively unique mechanics amongst fighting games such as Roman Cancels, Burst, wall breaks, Faultless Defense, Tension and Overdrives/Supers that are really, really cool, describing them in detail to people who might not even play fighting games is not, so I’ll just leave some cool images.

Aesthetics

It’s an anime fighting game, what else can I say?

Story

While you don’t even need a story for a fighting game, GGST itself has 4 hours worth of cutscenes in the story mode. The entire GG series has days worth of lore for those who enjoy it, but honestly it’s entirely optional. I just enter a floor and fight people.

Lenses

The Player (#19)

Fighting games retain specific kinds of players. Players that are ok with getting crushed 0-30 against better players if it lets them improve. Players that are ok with grinding the same combo for hours in the training room until they never drop their combos in a live match ever again. When playing a match, I can sometimes feel the amount of effort my opponent has put in. This mutual respect and competition is part of what drives me to keep playing and improving.

Skill (#34)

A good GGST player needs to know how to properly execute their character’s combos and defensive options. No one is born knowing how to do a combo, when to use it, or whether to use another one. All these come with practice, and that’s what makes it fair. If I want to beat someone, I have to put in more time and effort than them. I’m not paying for stronger weapons/characters, I’m not grinding for better gear. I’m grinding for a better me.

Head and Hands (#42)

Some may think fighting games are all muscle memory and no mental, but it actually alternates between the two. When the combo begins, it really is all muscle memory, but players can use that time to plan their next move. When attacking, players have to consciously weigh their risks/rewards and decide how to mix-up the opponent to overload their mental stack and land a hit, then convert into the right combo. It’s therefore incredibly rewarding when my head and hands succeed in tandem to defeat my opponent. If my mix-ups don’t work and I get blown up, it’s actually my fault for not thinking good/hard enough.

Competition (#43)

GGST, as a 1v1 PVP game, inherently draws out the competitive nature in its players. There’s no “support” class. There’s no teamwork aspect where I hope my teammates can cover for me. There’s no objective to capture or bases to destroy. It’s just me, fighting against another human on the other side of a screen until one of our hp falls to 0. Nothing quite scratches my “lizard brain” or gets my heart pumping like a match with an evenly skilled opponent. GGST gives next to no rewards for winning, but I still want to win. That’s because winning 1v1 against a real human, who has put in just as much, maybe even more effort than me, is it’s own reward.

Sources

• https://www.dustloop.com/wiki/images/6/60/GGST_CounterHit.png
• https://www.arcsystemworks.jp/guiltygear/img/db/img-2-1-1.jpg
• https://www.guiltygear.com/ggst/en/wordpress/wp-content/themes/ggst/img/about/about-1.jpg

Introduction

Return of the Obra Dinn is a detective game set in 1807 in which you play as an insurance investigator on a ship called the Obra Dinn. The titular ship had been missing for five years before reappearing off the cost of England, with everyone on board dead or missing. Your job is to go onto the ship, and figure out the identity and fates of everyone there.

To accomplish this, you have a magic pocket watch which, when brought next to a corpse on the ship, will trigger a “memory”. During this memory, you will be given a short audio clip of the moment right before that person died, and then a still 3D scene of the ship at that exact moment they died, which you can explore to find clues. For each person, you’re tasked with solving two questions: Who is this? And how did they die?

If it’s still not clear how the game works, you can check out the trailer and a gameplay video that explains the game below (note that the latter has spoilers after around the 1 minute mark)

The Elemental Tetrad

Mechanics

The core of the game consists of a couple of gameplay mechanics:

• The Death Memories: For most of the game, the player will be entering each person’s death memory, listening to the short audio clip, and then exploring the scene. In these memories, the player hunts for clues that can help them deduce a person’s identity and fate. These memories are also where the player learns the story of the ship.

• The Ship Logbook: Alongside the pocket watch, the player is given a ship logbook that contains a ton of useful information. This includes a manifest that lists the names, nationality, and occupation of everyone on board; a map of the ship; and important info about each memory. The information in the ship logbook is crucial to solving everyone’s fates and identities. The logbook also makes it easier for the player to keep track of all the info they’ve gotten.

• Submitting Your Answer: The logbook also lets the player input your guess for the identity and fate of each person. This is done by selecting a name from a dropdown list, and then selecting a cause of death from another dropdown list.

• Deduction: Technically this isn’t in the game, but player deduction is important to solving the fates. The memory flashbacks and the ship logbook will give you clues and information, but it’s up to the player to figure out how to use the clues to deduce each person’s identity and fate.

Story

As mentioned before, the game is set in England in 1807. The player plays as an insurance agent investigating the now-deserted Obra Dinn, which vanished five years ago before mysteriously reappearing near the coast. Everyone on board the ship is either dead or missing.

The story of what happened to the ship and everyone on board is told non-linearly through the memories. For example, the first corpses you will encounter on the ship are of the last people who died. Furthermore, because the memories are short and do not completely show every event, the player is required to put the memories together in order to figure out the story. In this way, learning what happened to the Obra Dinn is very much a part of gameplay as it is a story.

Aesthetics

The game is rendered in a 1-bit monochromatic style that is reminiscent not only of old Macintosh computers, but also of old ship logbooks and paintings with their black-and-white coloring. The music of the game is heavy on violins and orchestra, and it also draws inspiration from jaunty sailor tunes. There is also some voice acting for the audio clips that manages to convincingly emulate 19th century dialogue and accents. All of this helps to immerse the player in the atmosphere of being on a ship in the 19th century.

Technology

Return of the Obra Dinn is a 3D video game in first-person perspective, which both helps immerse you and allows you to explore the memory scenes freely. The game also makes use of rendering techniques like dithering to create the unique 1-bit art style.

The Five Lenses

The Lens of Emotion (#1)

The primary emotion that Return of the Obra Dinn evokes is the “Eureka!” moment when the suddenly realize the solution to a problem they’ve been stuck on. There are many times when playing the game where the player will be at a total loss on a person’s identity, only to suddenly find a crucial clue or an insight that would lead to a breakthrough. The game ensures that the “Eureka!” moment will happen again and again by requiring you to use many different kinds of clues and deductive reasoning to identify everyone. For example, clues can include a person’s nationality, their uniforms, their relationships with others, the timeline of events, process of elimination, and so on. The player will need to have many insights and realizations in order to solve everyone’s identities and fates.

The Lens of Motivation (#23)

Return of the Obra Dinn motivates the player in the same way any good mystery does: making them wonder “What happened here?” The ship disappeared and reappeared under mysterious circumstances, and everyone on board is either missing or dead! The player will be motivated to play the game just to find out what happened to the ship and each person aboard it. Furthermore, the game frequently shows memories in reverse chronological order, so each memory teases the player with questions of what could have happened in previous memories to lead to this event.

The main goal of the game, to find out the identity and fate of each person on the ship, is also a fascinating mystery in and of itself, and further motivates the player to solve them.

The Lens of Novelty (#24)

The main mechanics of Return of the Obra Dinn are extremely novel (what other game lets you view people’s death memories in a non-linear order to play detective?) and alone could entice players to play the game. Although the game’s mechanics are basically the same throughout, the game still injects novelty to keep players interested by varying the settings the memories are in (some memories go out into the open sea!) as well as the methods used to deduce people’s identities.

However, the game struggles to retain novelty once all the memories have been viewed, and there isn’t any new content for the player to go through until after they finish all the fates. On the bright side, the game still manages to be engaging even after the novelty wears off as the player has to figure out the fates of every character on board.

The Lens of Secrets (#29)

Return of the Obra Dinn generally avoids calling attention to clues and requires the player to notice them instead. However, the player is given some information to help them out. For example, the player is told for each person how difficult it is to figure out their fate and identity through some triangles on top of the person’s portrait. Furthermore, the information for the memories in the logbook is recorded in chronological order, so the player can clearly see the timeline of events.

Another way Return of the Obra Dinn balances giving and hiding information is that it only tells player their answers are correct if they have 3 correct fates. This prevents the player from simply brute-forcing answers for each fate until the game verifies it as correct. However 3 correct fates is few enough that the player can still get a sense of progress as well as some verification before they get too lost.

Overall, the game delicately balances between giving information to players to prevent them from getting too confused or frustrated while still keeping enough in the dark so that players will have to make deductions and discoveries on their own, preserving those “Eureka!” moments.

The Lens of Beauty (#71)

A 1-bit monochrome art style is not what most people would consider to be beautiful, but Return of the Obra Dinn makes it work. The art style fits the 19th century seafaring setting of the game and helps immerse the player into that environment. The game also still manages to achieve some stunning visuals using the limited graphics style. Just look at the screenshot below of the view on the ship deck; it’s not even the most impressive visual in the game!

The game also manages to make the clinical process of identifying corpses beautiful. Initially, each dead person is just a name on the list, but as the player goes through the memories, they get to see glimpses of the personality and life that each person had, which makes their tragic fate much more emotional. The captain’s memory, in particular, is genuinely tearjerking once you learn about all the horror and tragedy he faced aboard the Obra Dinn.

Baba Is You is a multiple award winner of 2018 IGF awards, bagging prizes for Best Student Game and Excellence in Design. The game revolves around manipulating “rules”—represented as movable tiles in the game —to help the character, Baba, to clear the level.

Gameplay Link:

Each level comprises of various objects, characters, and movable word tiles. The word tiles generally fall into three categories:

1. Nouns: that correspond to specific types of objects and obstacles on the field (such as Baba, the goal flag and walls)
2. Verbs: “IS” and “HAS”
3. Descriptors: tiles that determine the properties of these objects
   • “YOU” – which makes all instances of the object controllable by the player;
   • “WIN” to determine the winning object)

When three word tiles are aligned vertically or horizontally to form a valid syntax, they create a rule that governs how the object behaves and is enforced until the string is broken up.

Lenses

#25 Lens of Novelty

BABA IS YOU’s mechanics are extremely novel. Most games rely on a fixed set of rules that are understandable to players, and players hone their skills and maneuver around the constraints of rules to achieve a goal. However, BABA IS YOU requires players to manipulate rules in order to win the game in an innovative way. For example, in Fig1 below, the player controls BABA (BABA IS YOU), and cannot pass through walls (WALL IS STOP). Touching the flag is the win condition (FLAG IS WIN), however, it is surrounded by water, and the player will die if it touches it (WATER IS SINK).

Some creative thinking is required for the player to realize that the descriptor tiles can be pushed around and end up in a configuration like in Fig2. Now, we see ROCK IS WIN, and Baba just needs to touch the rock to win instead of the flag. This level is just one of the 200+ levels available, with new rules thrown into the mix with familiar rules every subsequent levels. Hence, not only does the novelty not wear off easily, there’s still a good balance of novelty and familiarity every level.

#8 Lens of Problem Solving

Fig4

Fig3 and Fig4 shows up just how many types of word tiles there are. The number of permutations of rulesets that can be generated is thus exponentially bigger. This allows for an almost infinite number of possibilities and solutions, which creates a high replayability and encourages players to problem-solve and experiment with different rulesets. For programmers & engineers, this game helps hone computational thinking and problem-solving skills well. Players must understand the implications of each word and rule set on the gameplay mechanics, which creates a unique challenge for them. This necessitates critical thinking and understanding of how the various words and rules interact with one another in an elegant way.

#71 Lens of Beauty

The game employs a minimalist art style, coupled with a simple user interface of the game. While this creates a clean and uncluttered UIUX, this is a double-edged sword because although the minimalist aesthetic allows players to focus on the gameplay mechanics, some may find it unappealing or too basic, limiting the game’s appeal to a broader audience. BABA IS YOU’s sound effects and music are effective enough in creating a sense of immersion without overwhelming the user with too much audio stimuli. Considering all of this, the game still won the Excellence in Design prize in IGF, which is a testament that beauty doesn’t have to be complicated.

#47 Lens of Punishment

While the game appears to be a casual 2D game that doesn’t seem too intense, there are finite states that the player can fall into that are dead ends, forcing the player to restart. Just like many games, the player has to restart the level when the player dies. But that’s not all, even “minor” things like when the player accidentally deconstructed the BABA IS YOU syntax in Fig5 causes him to immediately lose control of BABA, and is forced to restart the level. Imagine doing something like this after 20 carefully premeditated moves in the level and having to restart. There is a fair share of brutality in the game as some critical finite states cannot be reversed easily. This is exacerbated by players having to do things in a trial-and-error manner to find out how to advance in the game.

Elemental Tetrad

Mechanics:

BABA IS YOU’s mechanics set it apart from other games. Players are encouraged to break and bend the rules, pushing around word tiles on a grid to change the game’s rules. This gives the players multiple ways to clear the level. BABA IS YOU is no longer monotonous because players can always revisit levels to combine rulesets and come up with creative solutions for that level. However, because the game requires a lot of experimentation and trial-and-error, some players may find it too difficult or frustrating and be turned off. This is not a game for the casual gamer. The game’s difficulty level may be regarded as a barrier to entry for some players, limiting the game’s appeal.

Story:

BABA IS YOU does not go too in-depth into the story or plot. After all, it is not essential to have any context or background before clearing the levels. The main focus of each level is to provide a unique and challenging gameplay experience for the player. BABA IS YOU’s game mechanics gives it its competitive advantage over other games, a story line could potentially add to the attractiveness of the game, but it could also distract players from the main selling point of the game, which is to experiment with different rulesets to clear the levels.

Aesthetics:

The aesthetic attraction of BABA IS YOU is found in how it employs simplicity and minimalism to provide the player a distinctive and seamless experience. Players seeking a more meditative or minimalist gaming experience may find the game’s clean, uncluttered appearance appealing due to its minimalist art style and straightforward user interface. The game’s color scheme, which mainly consists primary colors against a dark background, also creates a sense of simplicity and cohesion. Furthermore, for typography, all rule words fit nicely in a unit square word tile, yet it is descriptive enough and fairly easy to understand what the implication of the word tile is. This is again aligned with the effective and minimalist aesthetics of the game.

Technology:

BABA IS YOU is a 2D game which does not require advanced graphics. This is also a single player game which does not have online multiplayer support, nor any AI-powered enemies integrated. Hence, it can be played almost anyone who owns a decent computer with basic CPU and GPU. However, the minimalist aesthetics and low technical demands of the game may be viewed as a lack of visual and audio polish. This is especially so for players who are used to playing the latest AAA games (that have realistic graphics and interactiveness) may be disappointed by the game’s basic UIUX and technical features.

References

Night in the Woods, Baba Is You win big at the 2018 IGF Awards | Independent Games Festival

From the IGF 2022 website: https://igf.com/unpacking

Gameplay videos (disclaimer: it is not mine, and the person presented in the video is not me either)
Part 1: https://youtu.be/kZZXGdzkTVU?t=2m17s
Part 2: https://youtu.be/DF7ZHBzPFMc?t=3m10s

Game Description

Unpacking is a single player game where it simulates a person moving houses and having to unpack his/her items in the house. The overall storyline presents a person who has to move houses several times in his/her life due to various events, then the player would have to unpack his/her items in the house each time. The items can include a huge variety, from daily necessities, to toys, to books, to decoratives, and many more. The game is expected to be able to be completed within 5 hours, so it is a pretty short game. While the game looks very open-ended in terms of the possible places the player can place various items, there are certain rules that are bound for each item, which prohibits the item from being placed at certain places. For example, the photo of an ex-boyfriend cannot be placed in plain sight, and the player is supposed to stuff it into a cupboard instead of hanging on the wall (at that time, it was a result of a breakup).

Screenshot (taken from https://youtu.be/2hFS54C3Vy4): https://cdn.discordapp.com/attachments/707571615365464124/1066303274745082017/image.png

Let us examine how the Elemental Tetrad is applied in Unpacking.

Mechanics

The goal is to unpack everything and place all objects at their appropriate places in the house. Since it is a game that is played purely by using the mouse/cursor, the main player action is to drag and drop items to adjust their positions in the house. The environment is basically just the interior of the house itself. The rules are extremely simple, which is basically the same as the goal, with certain exceptions where each item has their own appropriate places to be placed. For example, as written above, the ex-boyfriend photo cannot be placed in plain sight, so it should be hidden from sight, such as inside the cupboard. When an object is placed inappropriately, it will be outlined in blinking red. As for the physics, objects cannot float, and the game ensures that all objects must either be hanged on the wall if possible, or must not be floating.

Story

It presents a girl from young who goes through various phases of her life, which would cause her to shift houses. In particular, when her family moves houses as a whole, when she enrolled into a university, when she moves into her boyfriend’s place, when she breaks up with her boyfriend and moves back to her old house and when she moves into her husband’s house. It is very linear and the story actually does not affect the gameplay. It is mostly storytelling with no interactions needed by the player basically.

Aesthetics

The music and visual effects are very calming in general. It is a relaxing game afterall with nothing much that is happening during the gameplay itself. The gameplay is very simple with not much special mechanics. There is also an ending song when the player finishes all the levels to describe what the girl in the story has experienced in summary. Also, the book also represents the diary of the girl in the story, and it is used to save pictures of each house at the end of each level. In fact, when the player starts the game, it even labels the book with the player’s input name, which enhances the flavour of the story as the story is about a girl living her life through the years.

Technology

The art is fairly simple (looks like pixel art) but they still look aesthetically pleasing and makes sense. It is played on a computer, preferably with a mouse, but touchpad is possible too. The keyboard is not needed other than to type the player’s name at the very beginning of the game, even then on-screen keyboard exists. There is also an ending song as mentioned earlier, which meant that some sort of song writing ability is needed, as well as the tools to create the melody of the song itself. Also, the animation of “writing” the year number and the “unpacking” logo probably also requires a screen recording device, but it could also be animated directly since the font looks too consistent to be handwritten (using the year numbers as comparison).

Now that we have analysed Unpacking against the Elemental Tetrad, we will now look at some other lenses of game design.

Lens of Problem Solving

This game is very simple, which is to place all objects appropriately. Essentially, the problem solving required is to complete the level. It is not competitive and there are no scoring systems of any kinds, so it is very relaxing.

Lens of Venue

It is a game about moving houses, so it makes sense for the game to be in a house. It is a simplified version where only the interior of the house matters. At the earlier levels, the player only needs to settle a few rooms instead of the whole house (based on the story, the girl is very young too, which means that she should have less responsibilities too. The exterior of the house is left untouched by the player, and it is inaccessible.

Lens of Judgement

There are huge judgements needed for this game to determine where should each object be placed. Most of the time, it is common sense as to where to place each object, but some objects are more tricky as they are more bulky, and players do not know exactly what is in each package (players draw a random item in the package). There could be many books to be placed on the shelf, and players would have to find a way to squeeze all those books in.

Lens of Imagination

Players take on the role of the girl in the story to place objects in the house. It is essentially up to the player on how to place each item appropriately. In fact, the “room” to enable such imagination in the game is pretty big.

Conclusion

It is a very cohesive game concentrated on the idea of moving houses, and also giving the relaxing vibe to the player through various art and music.