Unused Horror Designs During Granite's Development A Retrospective
Introduction
The journey of game development is often filled with twists, turns, and a multitude of ideas, many of which never make it into the final product. As a game evolves, certain concepts are discarded, modified, or reimagined, leaving behind a trail of unused designs and forgotten concepts. In the case of Granite, a horror game I was initially developing, there were several intriguing yet ultimately discarded design elements that offer a fascinating glimpse into the creative process. These initial horror designs, though unused, played a crucial role in shaping the game's direction and eventual identity. This article delves into some of the most notable unused horror designs from Granite's early stages, exploring the reasons behind their abandonment and the lessons learned along the way.
Early Concepts and Inspirations
At the outset of Granite's development, the vision for the game was heavily influenced by classic psychological horror titles and films. Games like Silent Hill and Amnesia: The Dark Descent, along with movies such as The Shining and Session 9, served as major sources of inspiration. The core idea was to create a deeply unsettling experience that relied more on atmosphere, suspense, and psychological torment than jump scares or gore. The initial narrative concept revolved around a protagonist trapped in a remote, decaying sanatorium, grappling with their fragmented memories and a malevolent presence that haunted the facility. This setting provided a rich backdrop for exploring themes of isolation, paranoia, and the fragility of the human psyche. One of the earliest design considerations was the nature of the horror itself. We experimented with various types of antagonists, from ghostly apparitions to grotesque physical manifestations of the protagonist's inner demons. The idea was to create a threat that was both terrifying and deeply symbolic, reflecting the character's psychological state. Gameplay mechanics were also a key focus during this phase. We explored various approaches to player vulnerability, resource scarcity, and puzzle design, aiming to create a sense of constant tension and unease. The unused designs from this period reflect a wide range of creative explorations, some of which were quite ambitious but ultimately deemed too complex or incompatible with the game's core vision. In the end, these explorations, though unused, informed a more cohesive and streamlined approach.
The Abandoned Antagonists
One of the most significant areas of unused designs revolved around the game's antagonists. Initially, we considered a variety of creatures and entities to populate the sanatorium, each with its own unique mechanics and backstory. One concept was a spectral figure that could only be seen in reflections, forcing players to constantly monitor their surroundings in mirrors and other reflective surfaces. This antagonist was designed to create a sense of pervasive dread and vulnerability, as the player could never be sure when or where it might appear. However, we found that implementing this mechanic effectively was technically challenging, and it also risked becoming repetitive and predictable over time. Another idea was a grotesque, shambling creature composed of twisted human limbs and decaying flesh. This antagonist was intended to represent the physical manifestation of the sanatorium's dark history and the suffering of its former patients. While the visual concept was compelling, we struggled to integrate it seamlessly into the gameplay. The creature's design was inherently aggressive, which clashed with our desire to maintain a more psychological and suspenseful tone. A third unused antagonist concept was a more subtle and insidious presence – a psychic entity that could manipulate the environment and the protagonist's perceptions. This entity would create illusions, alter the layout of the sanatorium, and whisper suggestions into the player's mind, blurring the line between reality and hallucination. While this concept aligned well with the game's psychological horror themes, it proved difficult to communicate effectively to the player. The entity's actions were often too subtle to be noticed, leading to confusion and frustration rather than fear. Ultimately, we decided to focus on a more singular and enigmatic antagonist, one that could embody both physical and psychological threats. This led to the development of the game's final antagonist, which drew inspiration from several of these unused concepts but was refined to better fit the game's overall design.
Discarded Gameplay Mechanics
Beyond antagonists, several gameplay mechanics were also conceptualized and later abandoned during Granite's development. One such mechanic involved a sanity system, similar to those found in Amnesia and Eternal Darkness. The idea was that the protagonist's mental state would deteriorate as they witnessed disturbing events or spent time in the darkness, leading to visual and auditory hallucinations, as well as gameplay penalties such as decreased movement speed or accuracy. While the sanity system had the potential to enhance the game's psychological horror elements, we found that it was difficult to balance effectively. If the system was too punishing, it could lead to player frustration; if it was too lenient, it would lose its impact. We also worried that the system might become a distraction from the core gameplay experience, rather than an integral part of it. Another unused mechanic involved a complex crafting system, allowing players to create tools and items from scavenged resources. This system was intended to add a layer of resource management and strategic decision-making to the gameplay. However, we realized that the crafting system would require a significant amount of development time and resources, and it might detract from the game's focus on exploration and puzzle-solving. We also felt that the crafting system could potentially disrupt the game's pacing, as players would spend more time searching for resources and crafting items than engaging with the narrative and the horror elements. A third discarded mechanic was a branching narrative system, with multiple endings depending on the player's choices and actions. While this system offered the potential for increased replayability and player agency, it also presented significant challenges in terms of narrative coherence and production scope. We were concerned that the branching narrative might dilute the impact of the story and make it more difficult to create a satisfying and cohesive ending. In the end, we opted for a more linear narrative structure, allowing us to focus on crafting a tightly focused and emotionally resonant story.
Unexplored Environments and Puzzles
The setting of Granite, the decaying sanatorium, was always intended to be a central character in the game, with its own history and secrets to uncover. As such, we spent a considerable amount of time designing the sanatorium's layout and atmosphere, exploring various architectural styles and environmental storytelling techniques. Several areas and puzzles were conceptualized but ultimately left unused in the final game. One unused area was a vast, underground network of tunnels and catacombs beneath the sanatorium. This area was intended to serve as a hidden history, and a maze-like environment filled with traps and puzzles. However, we found that the underground tunnels felt somewhat disconnected from the rest of the sanatorium, and they risked disrupting the game's pacing and narrative flow. Another unused environment was a dilapidated chapel, complete with stained-glass windows, crumbling pews, and a haunting organ melody. This area was designed to evoke a sense of religious dread and spiritual corruption, reflecting the sanatorium's dark history and the protagonist's inner turmoil. However, we struggled to integrate the chapel seamlessly into the game's overall layout, and we felt that it might detract from the more grounded and psychological nature of the horror. In terms of puzzles, we explored a variety of concepts, from intricate mechanical contraptions to cryptic riddles and symbolic challenges. One unused puzzle involved a series of rotating mirrors, which the player would need to align in order to reflect a beam of light onto a specific point, revealing a hidden passage. Another puzzle required the player to decipher a coded message using a combination of musical notes and symbols found throughout the sanatorium. While these puzzles were intriguing, we felt that they were either too complex or too disconnected from the game's narrative and themes. We ultimately opted for puzzles that were more directly integrated into the environment and the story, requiring players to observe their surroundings carefully and think critically about the events that had transpired in the sanatorium.
Lessons Learned and the Final Product
The process of developing Granite was a valuable learning experience, filled with both successes and setbacks. The unused horror designs discussed in this article, while ultimately discarded, played a crucial role in shaping the final product. By exploring these different concepts and mechanics, we were able to better understand the game's strengths and weaknesses, and to refine our vision for the horror experience we wanted to create. One of the key lessons we learned was the importance of focus and coherence. In the early stages of development, we were tempted to include a wide range of features and mechanics, but we eventually realized that it was more important to prioritize quality over quantity. By focusing on a smaller set of core ideas and executing them effectively, we were able to create a more polished and impactful game. Another important lesson was the need to integrate all elements of the game – narrative, gameplay, and art – into a cohesive whole. The most effective horror experiences are those that create a sense of immersion and consistency, where every element contributes to the overall atmosphere of dread and unease. The unused designs often highlighted areas where these elements were not fully aligned, prompting us to rethink our approach and find more harmonious solutions. The final version of Granite reflects these lessons, offering a streamlined and focused horror experience that prioritizes atmosphere, suspense, and psychological torment. While some of the unused concepts may have been intriguing on their own, they ultimately did not serve the game's core vision as effectively as the elements that made it into the final product. The journey of game development is a process of refinement and iteration, and the unused designs from Granite's early stages are a testament to the importance of experimentation, critical evaluation, and the willingness to let go of ideas that do not fully serve the game's overall goals. They remind us that sometimes, the most valuable lessons are learned from the paths not taken.
Conclusion
The unused horror designs from Granite's initial development phase offer a fascinating look into the creative process behind game development. These discarded concepts, ranging from terrifying antagonists to intricate gameplay mechanics and unexplored environments, played a vital role in shaping the final product. By examining these unused designs, we gain insight into the challenges and decisions involved in crafting a horror experience, highlighting the importance of focus, coherence, and integration. While these ideas never made it into the game, their exploration contributed to a deeper understanding of the game's strengths and weaknesses, ultimately leading to a more refined and impactful final product. The story of Granite's unused horror designs serves as a reminder that the creative process is often iterative and that the journey of game development is just as important as the destination.
