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Epic Game Design Document v1.0by Jeruviel Stardust & Cody LestelleFigure A: Image originally designed by Cody Lestelle as a concept for cover art on a forthcoming book on various interlocking forms of prisons, from addiction and envy to “correctional facilities” as the most concrete and explicitly violent variety. The outer structure is an image of a panopticon style prison. The marriage of the syringe and dollar in front of the middle guard tower represent the forces of addiction, envy, and finance as a form of panopticism (Foucault, 1977) that function as a less visible prison for everyone globally, regardless of our location on The Inside (2.9.12.1) or The Outside (2.9.12.3). The game detailed in this document is intended as a ‘serious game’ that is not about merely playing games but social change and assisting as a powerful tool in the collective abolitionist repertoire. This is an abolitionist learning game against prisons and for freedoms. In writing this and sketching the preliminary outline, I take very seriously the following words from John Africa, founder of MOVE:This system is not something to be discussed as a form of stimulation. It is not to be treated as a fencing exercise by intellectuals who use words as dueling pistols and people as target practice. Life is not a game. Life is a need. When games are allowed to be played with people’s lives, people’s lives are reduced to a game. And history will show that the game players are reduced to ashes when the people truly realize they are being played with. –John Africa (as quoted by by Delbert Africa, 2017, 0:25)ContentsI – The Big Picturepp. 8-15Executive SummaryA Couple of Memos RE: Abolition, Education, & PrisonsAudienceInstructional GoalPerformance ObjectivesInstructional StrategyGame EvaluationII – Game Mechanicspp. 16-31OverviewInside/OutsideCameraIn-Game GUIStorytelling & SavingSingle Player, Multiplayer, Iterative DevelopmentDialogue & StoryControl SummaryGeneral MovementMoving in a DirectionVariable Movement Modes and SpeedsStandard WalkChain GangForced MarchJogRunSprintCrawlClimbSwimSubtle Bodies MovementsContiguous AstralFlightPassthrough BarriersStandard FlashbackDreaming, StandardDreaming, Lucid“Waking” Vision“Sleeping” VisionAgents, Objects, Environment, & RelationsProtagonists / Player CharactersActionsDialogue OperationsTimelines NavigationCombat & Non-CombatMagic & Psychic PowersEmpathyPsychic Prison Rebel RadioTelepathyTelekenisisPyrokenisisSupernatural AgilitySupernatural StrengthLevitationPortal Creation & DiscoveryMatter ManipulationSummoningWaterbreathingWater SummoningLookingMaking Friends & EnemiesSpeakingCut-ScenesStorytellingFriendsEnemiesRadioSignsDreamsMagnificationsPhrasesKeysSymbols & SigilsLevelsThe InsideThe CellThe CafeteriaThe YardThe ShowersThe Laundry RoomThe Jobsite(s)UniPorcVictor’s SecretMacStophelesTelekomPharmaKonnFarmaKonnKultureKorpGamEkonThe ClassroomThe Social & PoliticalSolitaryThe PastorThe LiminalThe MailroomVisitationParole InterviewThe CourtroomThe Escape / Lockup / ReleaseThe LiberationThe DreamtimesThe VisionsThe FuturesPandemoniumThe OutsideThe Outer PrisonsThe MegaprojectsThe People(s)III – Game Elementspp. 32-37OverviewArtificial IntelligenceAssumptions, Ethics, & Human NaturesCurrencies, Economies, Money & ValuesCorporationsGovernmentsPrisonsWarsCharactersParentsSiblingsChildrenO?hanaCo-PrisonersBossesWardensJudgesPoliceCorrectional OfficersSocial WorkersDentistsDoctorsLibrariansTeachersPlantsBricksMicrobesSpirit GuidesSunshine / The Sun & SkyLandWaterNon-Human AnimalsRelational Discord & DynamismCollective PunishmentSolidarityBetrayalLoveItemsInside ItemsPrisoner’s UniformRFID ImplantPrisoner’s Hygiene SuppliesPrison FoodPrison Books and Other Printed MaterialsCommonUncommonRareMagicPrison Writing MaterialsElectronicsComputersCell PhonesMP3 PlayersRadiosWalkmanCD Player (personal)Television SetStereoSpeakersWiresVideo GamesTelephonesInside WeaponsSoap in a SockShiv basicShiv advancedShiv masterfulPoison, basicPoison, advancedTruncheonTazerTear GasFlashbangPepperballsLauncherLight bludgeoningHeavy bludgeoningChemicals, Drugs, Intoxicants, & PotionsA - ZLiminal ItemsLettersPrison Manufactured GoodsPersonal BelongingsGiftsAudio RecordingsOutside ItemsAnything and EverythingDreams, Hopes, Goals & QuestsFreedomLove PowerRomanceA World in Which Many Worlds FitIV – Story Overview & Game Progressionpp. 38-39V – Art by and/or for Political Prisonerspp. 40-45VI – Bibliographypp. 46-55I – The Big Picture“Freedom? You asking me about freedom? Asking me about freedom? I’ll be honest with you… I know a whole lot more about what freedom isn’t than about what it is. Cos I’ve never been free. I can only share my vision with you…of a future about what freedom is. The way I see it, freedom is the right to grow, it’s the right to blossom. Freedom is the right to be yourself, to be who you are, to be who you want to be…”—Assata Shakur *quoted from the end of Common’s “A Song for Assata” on Like Water for Chocolate (2000) (thinkcommon, 2017, 5:58)Executive SummaryThis game is about unlocking magic powers to get free from prisons and save the earth from otherwise certain doom. It comes embedded with tools for doing real-world prisoner support and connecting with abolitionist organizing. All profits from game sales go directly to support currently incarcerated people and real-world abolitionist efforts. Welcome to the struggle.Prisons & Freedoms: The Mundane & The Magical is precisely about what its name indicates, magical and mundane (non-magical) prisons and freedoms. It is meant as an epic tool and toy for players to explore a multiplicity of prisons and freedoms, prisons of different forms and freedoms of various sorts. Despite being a serious game I still use the word ‘toy’ to embrace the idea of play which has been quite maliciously undermined by education (Brabazon, 2016; AbdelRahim, 2013) and which can and should be utilized, drawing on the examples of learning in good games as a matter of developing 21st century survival skills (Gee, 2005 ; Gee, 2009). The primary, or first, form of prison that players must come to understand, escape, and abolish is the most concrete one because it is simultaneously the most commonly recognized structure and institution when we talk of prisons and the site of the most extreme and invisibilized violences. While it might be revealed to have some magical properties, the concrete prison is the flagship for The Mundane. On The Outside, players encounter invisible prisons of money, The Magical.Certain doom? Invisibilized violences? With the present context of the Sixth Great Extinction and a swiftly ticking clock for human societies as presently assembled on earth, this is a game meant to embrace the call to “stay with the trouble” and to make kin in the (earthbound) Chthulucene (Haraway, 2016). I am inspired by Haraway’s analysis of the Inupiat “world game” Never Alone as a helpful epistemic tool for teaching the sort of consciousness necessary when arctic ice and all entangled lifeforms including humans are rapidly disappearing/being killed:I am talking about material semiotics, about practices of worlding, about sympoiesis that is not only symbiogenetic, but is always a sensible materialism. The sensible materialisms of involutionary momentum are much more innovative than secular modernisms will allow. Stories for living in the Chthulucene demand a certain suspension of ontologies and epistemologies, holding them lightly, in favor of more venturesome, experimental natural histories. Without inhabiting symanimagenic sensible materialism, with all its pushes, pulls, affects, and attachments, one cannot play Never Alone; and the resurgence of this and other worlds might depend on learning to play (Haraway, 2016, p. 88)Prisons & Freedoms seeks to exercise a similar form of instructive play, except that where Never Alone is an Inupiat world game, Prisons & Freedoms is a prisoners/incarcerated people world game. The unique epistemologies (ways of knowing) which only incarcerated and formerly incarcerated people in the present society have about what makes this a not free society are crucial to creating an actually free society, rather than simply a society which uses the word freedom to create and disguise prisons. Thus, since I am not a currently or formerly incarcerated person, creating the first complete and playable prototype of this game will require collaborators. The present document is composed based on what knowledge I have of prisons and how they operate and how those of us on The Outside benefit from the prison/slave labor of those on The Inside. It is not exhaustive of the various crimes of prisons and I have avoided specificity in many cases out of a lack of intimate knowledge. Prisons & Freedoms is a very ambitious and novel game concept that has many hurdles to clear if it is to come to fruition. It is much different than the VR game Prison Boss (Ctop, 2017) which demonstrates no commitment to assisting the plight of real life incarcerated people and appears to be primarily about becoming a good worker in order to escape. While The Escapists (jackscepticeye, 2014) and The Escapists 2 (jackscepticeye, 2017) appeal more to my personal taste in entertaining games they also lack any commitment to real-world prison abolitionism.The game as it is designed thus far has players starting off in a prison cell that could be anywhere and telling their own story through text based dialogues and moving and acting in the Virtual Reality (VR) simulated environment. Players connect with other prisoners and relations on the outside, unlock and cultivate magic powers, share and organize stories of escape and rebellion via the Psychic Prison Rebel Radio network, seek and obtain their freedom by any means necessary, and the continue on to the end goal of abolishing prisons and saving the planet from climate catastrophe caused by the megaprojects mining earth’s vital flows. A fantastic finale.Figure B: Painting by [anonymous artist, included with permission]. This image sums up the end game of successfully playing through Prisons & Freedoms. A Couple of Memos RE: Abolition, Education, & PrisonsThe following excerpts have been included as a manner of positioning this work. As a design document for an abolitionist game began from within the academy these two quotes are helpful in establishing a clear direction, purpose, and necessity. The first is from Eli Meyerhoff writing for the journal Abolition. The second is from Delbert Africa speaking on Prison Radio.Prisons and universities complement each other as two sides of the same coin.?They are institutions for producing obedient, governable subjects—shaped in an accounting mode with incarceration for ‘debts to society’ and education for ‘credits.’ Abolitionist movements should seek to abolish this whole coin.?From a decolonial, abolitionist perspective, this coin is?the intersecting regimes of white supremacist, settler colonial, hetero-patriarchal capitalism. Abolitionists have organized against institutions associated with the ‘bad’ side of the dichotomy of ‘good’/‘bad’ persons—including prisons, corporal punishment in schools, the schools-to-prisons pipeline, the death penalty, and the police—as well as against the ‘redemptive’ intermediaries of the military and work. Yet, abolitionists also need to resist?institutions, such as higher education, that are associated with the ‘good’ side of the coin.When considering an abolitionist critique of universities, academics experience anxieties: losing status and competitiveness, giving up?comforts, appearing hypocritical, or getting in trouble with employers (or potential employers for the majority of the precarious academic workforce). Rather than dismissing these fears, we need better?collective?practices for talking, writing, and organizing around these issues —?within and against?the education system,?with?communities who are excluded and marginalized from that system, and?for?abolitionist, decolonial movements?(Meyerhoff, 2015).Delbert Africa on “The Plight of Political Prisoners in America”:Then you have people like…Dr. Mutulu Shakur, who has blazed a trail of freedom fighting and has all the support of the people in his community behind him, yet the federal government says he is not suitable for parole. What do we have to do to be suitable for parole? This foul system will murder and lock up anyone be it female or male, no matter what ideological flag they fightin under… and it doesn’t matter either what ethnicity you are. And this is because…this system is afraid of political prisoners getting out and lighting a fire and keeping that fire going in people’s minds. They’re not afraid of our bodies, because many of us have aged for 35-40 years in the belly of this beast, and they know that the minds that kept us determined to not give into this system, to not become a system robot, will light a fire and keep that fire going on those on the street who ain’t playing games but are serious about social change. And so this is what I want to keep going in people’s minds. If you understand that there is a whole cadre of political prisoners who need to be in your midst, need to be encouraged and supported. And it is important for you to get on that internet and find out others whose names I haven’t mentioned and give them all the support you can.Do not use this upcoming conference as a game-playing intellectual exercise. […] Get on the move! We often say in MOVE that one doesn’t have to be in MOVE to be on the move, and if you ain’t on the move in whatever you’re doing you’re stagnating. And we all know that stagnation leads to sickness. […] Long live freedom, long live the revolution, long live John Africa, forever” (Africa, 2017, 5:36).AudienceThe intended audience of Prisons & Freedoms: The Mundane & The Magical is for anyone prepared for mature content. This is a game that takes the player through all the gory details of life and work in prison and, for those who make it that far, the gory details of life and work outside of formal prisons that nonetheless reproduce prisons on a daily basis. Therefore, players should be prepared to experience these realities in a detailed virtual reality setting. This game is especially well suited to those who dream of a better world and who know that we—society as we are now—are impossible and that another world is unstoppable.Instructional GoalThe goal of Prisons & Freedoms: The Mundane & The Magical is to teach players about the complex stories, on macro and micro scales, that form prisons on an institutional level and prisoners as individual political subjects. It is also meant, on a subtler level, to teach about the politics of knowledge and to introduce players to a diversity of conceptualizations of human nature and different meanings of freedom and prison. Finally, it intends to provoke deep critiques regarding the necessity and (non)malleability of “the world as we know it” and dreams and attempts at making configurations to the contrary where our lifeways are not based on domination and extraction in the assumption of essential greed, but something more noble—a world in which many worlds fit, or the idea of Beloved Community made (virtually) manifest. This goal and theme were chosen as the basis for the game because society is currently experiencing the catastrophic and coterminous crises of climate change, economic chaos, mass extinction, and mass incarceration. A lack of awareness of the very existence of these crises is one of the main problems contributing to the problem. Knowledge of how these crises inform each other and create feedback loops which mutually increase their severity is especially crucial to beginning to work/play toward feasible solutions. Even though the United States has more people in prison than any other country in the world, incarcerated people make up more than one percent of our entire population, and there is a mountain of evidence regarding the unjust nature of the “justice” system, mainstream media and education continue to denigrate incarcerated people. Because prisoners are one of the most invisibilized populations composing the human matrices of these crises it is reasonable to think that creating a challenging and fun if terrifying game that raises awareness of their existences and plights while giving players gameful and fantastic opportunities to play with and create fictional stories and fictional solutions will make a valuable contribution toward the general level of awareness and plasticity of imagination we need.Performance ObjectivesOverall, the degree to which each player successfully performs the objectives of Prisons & Freedoms is not something that can be quantified and standardized to all players, as each individual will have unique capacities to digest, learn, and contribute to abolitionist struggle. However, there are a variety of in-game and real-world objectives and clear indicators of success in reaching them. Learners/players must persevere through the simulated life of a prisoner in the game world as a matter of demonstrating willingness to become aware of the wretched conditions that incarcerated people are not allowed to stop experiencing. Giving up entirely and never playing the game again before logging at least two hours of gameplay, especially for those inclined toward video games, indicates a complete lack of interest in the subject and lack of compassion for incarcerated people. Completing the daily routine of life in prison for a complete simulated week (3.5 – 7 hours of logged play time) demonstrates a sufficient commitment to become aware of the struggles of incarcerated people on the part of the learner. Continuing to play beyond the first week of simulated life in prison, players begin to demonstrate an interest in solving the prisoners’ dilemma. Learners who repeatedly attempt to learn about and somehow address the issues of climate change and economic collapse from within the prison, through escaping or being paroled and working at it on The Outside, successfully demonstrate interest in learning about the relationship between climate change and mass incarceration. Those who pass all the way to final stages of the game, collective organizing for a Just Transition and shutting down the megaprojects and ending mass incarceration successfully demonstrate commitment to learning the relationship between the interconnected crises of our era. Players who utilize the embedded tools in the game or take it upon themselves to connect by other means independent of the game with currently incarcerated people for support work demonstrate a high degree of commitment to the plight of prisoners. Those who contribute financially to abolitionist or prisoner support organizations through the game demonstrate material support. Instructional StrategyPlayer empowerment and entertainment are the main tools used from the beginning to get the learners attention. A sense of epic challenge in the beginning, where players start in a prison cell with knowledge and connection of global crises that may end all life soon if they are not able to get out and go do something about it, motivates learners to do the work of learning to navigate inside of prison well enough to navigate out. While it will take overcoming a good degree of challenges to finally escape or be paroled out, players attention is kept and they are reminded of the necessity, urgency, and epic meaning by way of periodic dreams and communiques over the Psychic Prison Rebel Radio network (see 3.9.6.2). Guidance throughout is provided through many mediums including personal letters from their relations on The Outside, stories shared with co-prisoners and even correctional officers, and occasionally visions that arrive to them while waking or sleeping. Visions and dreams allow the player to travel to various sites of crises outside of the prison facility and to interact in different challenges that deepen their understandings of the crises and at the same time their motivation to physically get out and/or to improve their magic powers to affect change from The Inside. The development of magic powers and the option to hatch escape plans, organize prisons strikes and riots, and be open to a complete range of realistic and fantastic routes of action serves to keep learners entertained and to bring a greater degree of meaning for when they choose to show constraint and not use violence. Collective punishment is almost always likely to be used by prison authorities against the relations of the player’s character for any obvious transgressions and especially for violent ones, so while unrealistic abilities and powers become available learners are nonetheless encouraged by the political and social structuring of the prison society in the game world to exercise caution and/or restraint and be responsible with their magic powers. Collective punishment is one of various forms of consequences (learner feedback) for players’ actions.A brief summary of Prisons & Freedoms in the context of Gagne's Nine Events of Instruction:gain and maintain attentionThe game gains attention by presenting players with an epic quest to save the earth and in fact the multiverse from eternal imprisonment and fiery doom. If player cannot successfully get free of the mundane prison and eventually abolish prisons and solve the magical, terrible things will happen. On the converse side of that equation, the more success toward that goal the more magic powers player gains to aid them in their epic quest and keep it fun.stimulate recallRecall of the multitude little skills and facts and the few big concepts happens consistently through dialogue, radio, and A.I. responses more rm the learners of the objectivesLearner is informed of their objective to escape immediately implicitly by the very fact of being in prison. Through dialogue, dreams, radio, and television they learn of the impending doom of climate catastrophe on the region of their prison and earth more broadly and thus the need to do something about it in order to save themselves on those they care about on The Inside & Outside.present the stimulusAlternating visions of earthly Armageddon/complete catastrophe and utopian futures recur throughout gameplay which showcase multiple possible routes to each by zooming in and out on various ways of relating and assembling on individual and collective levels and their respective implications for all of our relations. Something akin to To Change Everything (subMedia, 2015).provide learner guidanceConsistent guidance happens through dialogues, dreams, visions, & Psychic Prison Rebel Radio.elicit performance (practice)Because the game itself is a prison simulation which is regularly updated with the most current news of horrendous prison conditions, happenings strikes, and organizing in the real-world the desired behavior of caring about the plight of prisoners is practiced and measured by play time logged. Practice is elicited and occurs across the spectrum of behaviors and skills that are meant to grow with play through various other mechanisms.provide learner feedbackFrom other players in multiplayer mode, from NPC’s and broadcasts and visions in single player, players receive active feedback connecting their in-game stories to real-world prison struggles.assess performanceThrough dialogue options with different prisoners, players are low key “quizzed” on the latest knowledge of what is happening in real life prison struggles. Answering incorrectly will result in losses in reputation and magic points that can best be restored through future successful replies.enhance retention and transferPlayers will consistently be put into scenarios where they will need to apply and share the lessons learned from stories of real-world prison struggles in order to solve in-game problems, thereby weaving more intimate understandings of those stories and their applications into new stories and imaginaries and innovate further on the concepts and techniques involved.Game EvaluationPrisons & Freedoms can be seen as something like The Escapists meets Never Alone meets Psi-Ops: The Mindgate Conspiracy meets This War of Mine meets Morrowind meets High Fidelity. This is quite possibly the most epic game ever designed. It offers players a sense of epic meaning as do many games (McGonigal, 2010), but with an invitation and the necessary tools for directly translating their success in game to success in the related problems in the real world and a feedback loop of that real-world success back into in-game success. Gee’s principles for learning in good games are all evident in the design of this game, as I will describe point by point.Empowered Learners (Gee, 2005, pp. 6-9)Co-design is built into the basic gameplay of Prisons & Freedoms in that players are the author of their own story in very direct and recognizable ways. Players decide who they are and what they look like and their decisions about who they are based on their responses to more historical-biographical prompts and their actions and interactions in gameplay affect their environment and social relations directly. This same configuration also speaks to Gee’s notions of customization and identity for creating empowered learners. Gee’s principle of “Manipulation and Distributed Knowledge” can be seen at play primarily in the Psychic Prison Rebel Radio network which enables players to engage in and influence collective action against the prison society beyond their individual cell and their specific “correctional” institution and to leverage that knowledge to orchestrate escapes and undermine prison authorities. Problem Solving (Gee, 2005, pp. 9-13)The principle of Well-Ordered Problems is evident in that prisoners gain a knowledge of the scope of the problems facing the planet from the beginning but the game walks them through solving smaller scale problems like their own mental, physical, social and psychic/spiritual well being and addressing their legal case(s) or orchestrating their eventual escape from prison prior to tackling the megaprojects on The Outside. The principle of Pleasantly Frustrating is present in that players have a small window to develop their competence in the controls and modes of dialogue with fair warning and guidance prior to being put in extremely lethal scenarios and that once they are in those scenarios the autosave and timeline replay functions assist in teaching players how to successfully avoid death on their next attempt at getting through the conflict. Cycles of Expertise can be seen in how players progress from a socially isolated individual prisoner where virtually everyone is an enemy to someone who progressively gains more allies, friends, and skills and continually utilizes those skills in an aggregative fashion to get from “conquering” their cell mate, to the warden, to the entire prison system and capitalist society step by step. Basic dialogues, the superpower of Empathy (2.8.6.1.) that all players begin with and later Psychic Prison Rebel Radio, dreams, and visions all form the in game delivery mechanism for the principle of Information ‘On Demand’ and ‘Just in Time’ because it is through them that the game guides players on their epic quest from ‘A’ to ‘Z’. When players go to sleep they have the option of remaining in the dreamtime for as long as they desire to access Fish Tanks and Sandboxes, the former is a guided tutorial space that acts as a virtual tour prison survival and escape or parole guide, whereas the latter features an array of randomized scenarios where player is invulnerable and can play around with the full range of completely developed magic powers. One example of Skills as Strategies at work can be seen in how players have to utilize a variety of small skills combined in order to organize their first prison strike by designing, printing, concealing, and low key distributing their underground prison newspaper. Understanding (Gee, 2005. pp. 14-15)System Thinking is showcased in the opening cut scene of the game where the broader industrial and social processes that create the prison are highlighted so that players have some sense of meaning and greater good as an end goal while they master the inner operations of the prison society. This is emphasized in later stages of gameplay when players unlock the ability to catch snapshots of the entire lifespace of a given commodity chain while they are working on specific aspects at their jobsites on The Inside. The principle of Meaning as Action Image is perhaps the strongest point of Prisons & Freedoms: The Mundane & the Magical because it does the work of revealing all the normally hidden aspects of “prison” that the majority of those living on The Outside in real life have the comfort to avoid seeing clearly. Through the panoramic views of everyday consumer goods that pass through the prison slavery jobsites which players are able to view allows them to see clearly as “prison” everyday objects we see in our daily (allegedly) free lives which are normally connoted with “freedom” in capitalist consumer consciousness. Finally, for players who make it to The Outside after having lived a lengthy simulated life a struggle on The Inside, learners/players will have the opportunity to explore existing alternative societies operating on much different paradigms of freedom as well as to experiment with and create their own action images for recoding their neural pathways and imaginaries of freedoms and prisons. This final step of alternative societies showcases actually existing (Esteva, 2010; EZLN, 2014a-b-c-d; A Small Key, 2015; Knapp et al., 2016) as well as theorized (Herod 2011; ?calan, 2011) and imagined alternatives (Enos and Vint, 2015).Because Prisons & Freedoms is intended as a tool and toy embedded in the context of abolitionist struggle against prisons and for transformative justice, everything created “in game” passes through wide and varied audiences of critical review within movement milieus where it has the chance to teach and impress as it travels as well as be critiqued and torn apart and reassembled on its way back into the generative imagi-nation machine that is this epic game.II – Gameplay & Game MechanicsOverviewThe game mechanics of Prisons & Freedoms are intended to assist in creating as immersive as possible an experience for the player(s). Prisons & Freedoms will ultimately be released on a large variety of platforms but is best played in virtual reality. The initial design detailed in this document is tailored to Oculus’s “Santa Cruz” VR headset (Machkovech, 2017). Inside/OutsideA dynamic present throughout various aspects of the gameplay and storylines of Prisons & Freedoms is that of Inside/Outside. Inside being inside of the prison and outside being outside of the prison. CameraThe opening camera view when player begins a New Game of Prisons & Freedoms is to circle down from a Moon’s eye view of the earth closing in on the prison facility. As the view closes in on the facility in the journey through space with earth getting progressively closer and larger, a variety of news reels play spanning climate, ecological, economic, and political crises facing the earth of the game world. Eventually the nearest metropolitan city to the prison facility comes into view and then the prison itself. After this initial introduction cut scene the camera view will always be first person from the view of the player’s character. The only occasions for shifting out of first person perspective after the game opening will be when the player shifts to Subtle Bodies (see 3.8).In-Game GUIThe main Graphic User Interface for Prisons & Freedoms is when player starts or loads a new game. When the game is initially booted, the visual input of the VR display shows as follows: New Game Load Game OptionsAfter a New Game has begun there is no menu available. All saving is done automatically and any time the player dies that end storyline is woven into future instances of gameplay (see 3.4). There is no GUI during most gameplay to create as immersive an experience for player as possible. There is no inventory or character sheet or quest registers because the primary instructional objective of the game is to teach, as much as is possible with a game, what it is like to live in prison. Text based dialogue (response) boxes show up as the basic mode of interaction with NPC’s and creation of the player character’s story (see 3.5).Storytelling & SavingSaving happens automatically to remove control and manipulation of saving and loading from player to simulate the lack of control over one’s fate experienced by incarcerated people. Whenever player dies the manner of death and specific circumstances and storyline surround that instance of death are also saved. Each instance of death then populates the repository of dreams, nightmares, and visions for future play. The repository of death experiences is cumulative and applies to New Game timelines as well as any future Load Games of any variety. This is dynamic is intended to create a sense of shared fate and subjectivity among incarcerated peoples as well as to offer experience of multiple possible past, future, and present timelines to players.Single Player, Multiplayer, Iterative DevelopmentPrisons & Freedoms is supports single player and multiplayer modes. Players who opt in will have the stories they create uploaded to the gamedev cloud for use in the creation of an iterative expansions to the original release. Game sessions will be automatically translated into basic text logs. The knowledge that single player and local multiplayer stories will inform later iterations of Prisons & Freedoms is intended to give early players some buy-in and reward for enduring the lack of convenience from not being able to save game at will and for enduring any negative consequences thereof and a more barren and initially less socially complex game world. Dialogue & StoryWhen beginning play from New Game state, nothing is yet officially written about the character’s story beyond the fact that they are in prison and what news flashes they have been shown about the world at large. The creation of the particulars of their story happens through internal monologues and external dialogues. The monologues are a form of self-reflection and recollection by the incarcerated person. Dialogues happen with the multitude characters (see 4.2) that the player interacts with.Control SummaryThe controls outlined in this design document are tailored to the VR platform. Controls for other platforms will be released in future design documents specific to those releases of Prisons & Freedoms. The game controls for Prisons & Freedoms are intended to maintain a sense of immersion and to feel as intuitive as possible.General MovementThere are three basic options that players can elect for movement configuration in Prisons & Freedoms. The first option is to utilize RIPmotion, a system based on sensors attached to the players hips whereby walking or running in place they move their avatar in the virtual reality setting (Jagneaux, 2016; Machnovech, 2016). The second option, suited to players with a preference for more relaxing gameplay or who do not have the use of the lower half of their body, is ImmersiveMovement whereby players hold a button on the VR controller and move their arms as though they were running (Jagneaux, 2016). For players with disabilities limiting their movement capacities, voice directed movement—a more advanced adaptation of IBM Watson’s voice commands on Star Trek: Bridge Crew and Oculus Voice (Hayden, 2017; Karner 2017a-b)— and thought directed movement (Metz, 2017; Yaghout, 2015) configurations will also be made available. This design document focuses on RIPmotion. Moving in a DirectionPlayer faces in the direction they would like to move and begins moving in place at desired pace.Variable Movement Modes and SpeedsVarious modes of movement and paces are detailed in this section.Standard WalkWalk in place at a standard pace.Chain GangWhen on chain gang duty player must observe and keep pace with all other players and NPC’s in their chain or risk being penalized by correctional officers and/or other member on chain gang duty. If player missteps while on chain gang duty they receive negative shouting commands from the correctional officers and promises of violence. Forced MarchWhile on a forced march player must keep pace with the march or risk being trampled.JogIn order to jog player must jog in place. Jogging is only allowed while in The Yard. Jogging in other locations renders player subject to punishment.RunIn order to run player must run in place. Running is not allowed. Running in any location on The Inside renders player subject to punishment. Running on The Outside renders player subject to punishment if and when they are caught unless they were paroled out.SprintIn order to spring player must sprint in place. Sprinting is not allowed. Sprinting in any location on The Inside renders player subject to punishment. Sprinting on The Outside renders player subject to punishment if and when they are caught unless they were paroled out.CrawlIn order to crawl player must get down on the ground and crawl. Crawling is generally not allowed. Crawling in any location on The Inside renders player subject to punishment unless they are in the service of duty, cleaning floors or otherwise as directed by the appropriate authorities.ClimbIn order to climb player mimes climbing movement. Certain surfaces and objects are climbable, others are not. Climbing is not allowed on The Inside. Climbing renders player subject to punishment.SwimIn order to swim player mimes swimming movements. Range of swimming movements include: dive, dog paddle, breast strokes, back float, and back strokes. For prolonged swim sessions in VR it is recommended that player utilizes a table with similar dimensions to a massage table.Subtle Bodies MovementsIn addition to the primary “physical” body of the virtual incarcerated person who’s story the player lives and co-creates, there are a variety of ‘subtle bodies’ (Subtle body, n.d.) that player can activate and navigate the virtual world with/from/through.Contiguous AstralOnce player learns the capacity for astral consciousness they are able to leave their avatar’s physical body in place and navigate in their avatar’s astral body. It is defined here as “contiguous astral” because the clock keeps ticking and the gears keep on going in the prime physical plane of the game world while player occupies this form. Their physical body is in a meditative state wherever they were when they first made the transition to this mode of consciousness. If their prime physical body experiences any disturbances their astral journey will be interrupted, their subtle body immediately merging back with their prime physical body and the virtual sensory experiences will revert to the standard state with that body as their locus. What counts as a disturbance depends on what degree of mastery the player has attained over this capacity. There are three levels of mastery: novice, master, and grandmaster. At the novice level any loud noises that occur near the avatar’s prime physical body will interrupt contiguous astral consciousness. At the master level it requires physical damage to interrupt contiguous astral consciousness. At the level of grandmaster players have the option to abstain from re-entering their prime physical body despite the occurrence of damage. If the prime physical body continues to take damage to the point of death, a grandmaster has the option to persist in astral form indefinitely or, immediately following the murder of their prime physical form, they can possess any of their murderers, whether they be correctional officer, warden, co-prisoner or otherwise, and take complete control of their body. To accomplish this, player motions in a circular fashion toward the heart and head of target’s body making an inward spiraling motion with increasing speed until the operation is complete.FlightWhile in astral form player has the ability to fly. To ascend slowly, player puts both hands to their sides and faces palms to the ground. To descend slowly, player faces both palms up to the sky. To fly quickly in any direction, player extends arms in that direction with all fingers pointing straight out, palms flat and facing each other.Passthrough BarriersIn astral form everything becomes immaterial. Player can walk through walls and everything of the prime physical plane, including people. Player cannot touch or manipulate physical objects while in their astral form, however there are some astral objects that only become visible and manipulable while player is in astral form (20 Astral Projection Myths Busted, 2013).Standard FlashbackWhile waking there are a variety of items, occurrences, and phrases that can trigger flashbacks for player. The particular triggers and the content of the flashback are dependent on a combination of random elements and the particular story that the player has begun to tell. While a flashback is occurring, player loses all control over their movement and vision except the ability to look around. Flashbacks are a form of cutscene in Prisons & Freedoms. Dreaming, StandardSome nights player will experience dreams when sleeping. Dreams can be composed of standard playback of random recorded bits of their recent play experiences, or unrelated bits of audio and visual input. During standard dreaming player has no control over movement. Some dreams repeat The Inside, some The Outside, some involve elaborate escape scenarios and others (re)capture scenarios. Player will be left to interpret the significance of dreams.Dreaming, LucidPlayers can unlock the ability to lucid dream, that is to be in control of their movement and actions and even the content of their dreams. There are a variety of ways to unlock this ability. There is a small chance upon character generation that the player will simply have this ability without any training. Paying close attention to standard dreams and attempting to decipher them can lead to unlocking this ability. More direct routes include finding a text on lucid dreaming in The Library or learning about it through dialogue with a co-prisoner and following the training steps suggested therefrom. Movement in lucid dreaming is similar to that of the astral form except that there is no direct correlation of the reality experienced to that of the prime physical plane. “Waking” VisionWaking visions are experienced by player as a result of certain triggers during gameplay, similar to flashbacks, except that they indicate a possible future instead of a factual past. “Sleeping” VisionSleeping visions are similar to waking visions except that they occur whilst player is sleeping. They are distinct from standard or lucid dreams in that they indicate a possible future instance of the storyline. Just as with standard flashback and waking visions, player is not able to control movements and this is a form of cutscene.Agents, Objects, Environment, & RelationsEverything in Prisons & Freedoms is meant to weave together to form a highly interactive experience where players can see the results of their actions and choices reflected in the environment around them, what objects exist and how they are, and how different agents (NPC’s) behave. This is not to say that players are always able to improve the conditions of life in prison or that they can expect to form positive relationships and elicit good behaviors from correctional officers or co-prisoners, just that there are forms of feedback that show player’s actions have been noted and incorporated.Protagonists / Player CharactersSingle player mode involves the elaboration of a single incarcerated person’s storyline—including potential escape, release, and/or re-capture stories—through a series of choices made by the player. Multiplayer mode is the same setup as single player except with multiple protagonists/player characters simultaneously inhabiting the same game world. ActionsPlayers have a wide array of actions available to them. Prisons & Freedoms intends to offer as many possible actions as exist in the real world and then an array of more fantastical actions on top of that. All actions that a player chooses to take will impact the world and storyline in one way or another. When an object is picked up and moved somewhere else, it will remain there until it is found and interacted with by another player or NPC. Certain items considered contraband can have highly negative consequences for other individuals in the game world. For example if player leaves contraband in the cell of another prisoner, that other prisoner is likely to be punished for their action. Players do not have an inventory to simulate a need for awareness of object and spatial relations inside of the prison environment. Non-item oriented actions, such as “shit talking” and getting into fights with other incarcerated people and correctional officers, also have long term consequences in the storyline. Individuals will remember everything that player has said and done and this will affect their disposition toward player down the line. Thus it is important to keep the consequences of their actions on their relations in mind as they move about the game world. One never knows when one might need something from someone in the future.Dialogue OperationsAs hinted at in sections 2.3, 2.5, 2.7.6.1, and later in section IV, dialogue operations are a crucial aspect of gameplay. Dialogue boxes show up every time player attempts to speak with another character and any time player is hailed by someone else. Response options show up coded with various letters. In order to choose the desired response, player can point at and fire a VR button to indicate the response or they can simply say the appropriate letter if they have voice command mode active. Spoken replies show up with regular font. Telepathic replies are italicized and are colored violet with a dark outline. Spoken or telepathic replies that draw on the Empathy power are prefaced with the text *EMPATHY* (blue). Action based replies are in all italics which describe the pre-planned action oriented response in detail and are immediately followed by a controlled play scene. The controlled play scene following an action based reply has a basic challenge that player must succeed on in order to successfully carry out their action. The more difficult the action is thought to be the more difficult the challenge will be to accomplish it. Immediately following success or failure of the challenge a cut-scene plays out where the actions are carries through. For example, someone might shout an insult at player when they walk into the cafeteria. The chosen action response could be throw object at the insulter. If the challenge succeeds, a cut scene shows player successfully striking the insulter with the thrown object. If the challenge fails, a cut scene shows player accidentally striking someone adjacent to the insulter. In either scenario a physical altercation is likely to follow. The difference between the two is that everyone present in the cafeteria will remember the success or failure and any friends or enemies made in the process of the initial dialogue and fight will be reflected later in the story.Timelines NavigationAs player progresses through Prisons & Freedoms a variety of storylines/timelines are created. At various key moments where significant actions are taken to change character dispositions, the game will create an autosave of how everything is before the change and register that action or dialogue moment as significant. When player gains the ability to create and discover portals, one type of portal the come across and eventually can create is more oriented to specific timelines than it is to crossing distances. With Timelines Portals, players can jump back in time to a previous state of affairs and attempt to follow a distinct route with their relations on The Inside. This ability is often likely to come in handy when players repeatedly fail escape plans to find that someone they “did dirty” in the past ends up in a position to deny them some needed material goods or favors in hatching their escape plans or they simply snitch on them and ruin their plans. It is also likely to come in handy when addressing the broader infrastructure issues on The Outside in terms of prioritizing their time. If and when player gets to The Outside if they spend all of their time on idler but perceived as “fun” activities rather than focusing on shutting down the megaprojects destroying the planet, they will inevitably end up perishing amidst the pandemonium. Having a chance to create a portal back to a previous state of affairs while the world is ending gives players the chance to reflect on their actions until that point and attempt to go back and try bat & Non-CombatSometimes player has the option of avoiding combat, sometimes it is not an option. It is possible to be attacked and not attempt any sort of self-defense and simply hope that the aggressor(s) cease(s) attacking before killing player’s avatar. When there are fights on The Inside between prisoners, correctional officers will sometimes intervene and sometimes they will not. Sometimes they will simply allow prisoners to maim and kill one another. Their interventions are selective and based on their mood, their dispositions toward the prisoners involved, how the fight seems to be progressing, what it will cost them to intervene, and if they have been bribed to abstain from intervention or to take a particular side. Fights on The Outside play out differently depending on the location. In certain neighborhoods people will immediately call the police at the first sign of a fight or even raised voices. In some neighborhoods people will allow fights to progress to a certain level depending on the relations of who is fighting, whether or not it is considered mutual combat, and/or if the person being attacked “had it coming” or not. Considering the end goal of the game is to escape prison and shut down the megaprojects destroying the planet and contributing to the constant formation of prisons in general and that doing so will require the broadest possible cooperation between different characters and groups in the game world, avoiding combat whenever possible and seeking diplomatic solutions likely to open capacities for allegiance is advised. However in many scenarios self-defense in the name of self-preservation to be able to see the quest through will be necessary. In the context of self-defense and combat then, whether or not to use lethal force and how that leads to potential future allegiances is another consideration players will have to deliberate upon.Magic & Psychic PowersThroughout the game player discovers and develops a variety of magic and psychic powers. The distinction between magic and psionics is one of style completely up to the player to determine. Powers are unlocked through a combination of dreamwork and active training while awake.EmpathyAll players begin with the capacity for empathy. This power shows extra dialogue options based on unspoken cues that the player is able to pick up on thanks to their empathy. The more empathic options are pursued in dialogue the more the power of empathy is developed. If empathy is consistently ignored and the player continues to cause pain to others through the actions they choose to take, the power of empathy eventually diminishes into nonexistencePsychic Prison Rebel RadioPsychic Prison Rebel Radio (PPRR) is a secret radio frequency that players can access through their “mind’s ear” which incarcerated people utilize throughout the game world to communicate and organize prisons strikes and orchestrate escapes and other revolutionary activities. PPRR contains a variety of real world broadcasts from real world political prisoners and prison struggles and broadcasts created by game developers and other players using in-game tools to narrate their struggles in the game world. Real world and game world audio casts are distinguished by game world DJ’s who preface each broadcast with “LIVE from Virtual State Private Prison” for game world broadcasts or with whatever real-world information relevant to the real world based broadcasts. To be included in the initial release of Prisons & Freedoms are: Assata Shakur, Mark Cook, Mumia Abu-Jamal, Leonard Peltier, and Sean Swain. Fans, players, and the prison abolition movement more broadly will be able to create broadcasts for PPRR within and independent of Prisons & Freedoms to update the repertoire of in game broadcasts.TelepathyTelepathy is the ability to communicate mind to mind with others. PPRD is a form of telepathic broadcast and is usually unlocked prior to more deliberate, outgoing telepathic abilities signified by this category. Once telepathy is unlocked players can communicate directly back and forth with others who also have this ability. They can also send telepathic messages to other PC’s and NPC’s who do not possess this ability who will experience the messages as a “voice in their head” and may or may not associate the sensation with the player sending the messages. Telepathy is an extremely valuable form of communication while in prison because all other forms of communication are prohibited or highly controlled and monitored.TelekinesisTelekinesis is the ability to move and manipulate objects and individuals with the power of one’s mind. It is also called “action at a distance.” Upon first unlocking this ability it can only be used in a very limited way, to move only light objects. Players can also use this ability to pick locks without any tools but risk setting off alarms if they fail.PyrokinesisPyrokinesis is the ability to create and manipulate flames with the mind. Preliminary versions of this power will show as player being able to diminish or expand already existing fires using their mind intentionally or based on their (character’s) emotional responses to the situation. Supernatural AgilityThis power allows for extreme enhancement of player’s movements. Sidestepping an oncoming attack will instead move player’s avatar directly behind their attacker. Running or jumping away from an explosion or gas attack will automatically phase avatar to the nearest place of relative safety, if available.Supernatural StrengthThis power multiplies the breaking, lifting, throwing, and physical striking capacity of the avatar by ten. Once this power is unlocked it remains always active except for deliberate attempts to suppress it when necessary for whatever social or political reasons.LevitationWhen this power is unlocked, player is able to levitate. The control operations are the same as that of levitation and flight in the astral body (see 2.6.2.1), except that instead of only moving a subtle body of their avatar, the player is able to levitate and fly with the prime physical body of their avatar.Portal Creation & DiscoveryThere are a variety of portals that already transport between various locations in the game world. There are Inside to Inside, Inside to Outside, Outside to Inside, and Outside to Outside portals. Once this power is unlocked, player is able to identify where portals exist and activate them i.e. step through them to wherever they lead. Eventually this power can be developed to the point of being able to create their own portals linking to distinct places to one another, folding the timespace continuum as it were.Matter ManipulationMatter Manipulation allows player to heat, cool, shape and shatter objects. This can be especially useful for creating holes in walls and causing jams in the weaponry of prisons guards and police forces.SummoningSummoning power allows player to summon a wide range of creatures to come to their aid. However, once they have been summoned to the prime material plane, player does not always maintain complete or even partial control over the summoned entity or entities. Possible entities can include any variety according to an ever-growing library populated by player created creatures. Stock entities include ancestral spirits, avatars of various deities, angelic and demonic forces, animal companions, revenants, werewolves, vampires, and zombies. Most players first learn about the power of summoning through a story that is relayed in a hidden note in the library and/or a fellow prisoner about someone who summoned the revenant of a friend who was killed by a correctional officer to avenge their own death.WaterbreathingWaterbreathing power can be especially helpful when attempting to escape by underground waterways. It can also come in handy when the prison facilities are flooded and all state authorities have abandoned the prisoners to die.Water SummoningWater summoning allows player to summon small to vast quantities of water from thin air.Cut-ScenesIn addition to cut-scenes mentioned in other specific scenarios such as in dreaming, and visions, the primary cut-scenes of Prisons & Freedoms occur upon starting a New Game, successfully escaping prison, and when Disaster strikes.StorytellingThis is primarily a storytelling game and all game mechanics and elements are meant to aid in the exploration of stories about prison life, The Inside/Outside binary, successful escape stories, and ultimately the revolutionary imagination of a world without prisons and possible pathways.FriendsUltimately a world without prisons is a world where everyone has some hope of befriending everyone else, or at least of not being permanent mortal enemies with everyone else and there generally being a greater number of friends among our relations than enemies. EnemiesA world that deals with problems by creating prisons and prisoners is a world that creates a lot of enemies. Despite or even because of the noble motivations of the protagonists of Prisons & Freedoms, they are likely to come head to head with many enemies that will serve as small and major challenges in their epic quest. Some of the greatest enemies may eventually become friends while others are likely to remain enemies forever and continue to be committed to the prison society and slavery. RadioRadio is one of the key mechanisms to storytelling in Prisons & Freedoms. In addition to PPRR there are also physical radios that broadcast on the prime physical place with standard audio as a “normal” radio would be listened to in prison. This is one of the ways that prisoners hear news of The Outside, especially including progress of politics and environmental meltdown that motivate their escape or parole processes.LevelsPrisons & Freedoms is an entirely non-linear game and therefor does not have an “A to Z” system of levels. The levels described here are more descriptions of physical locations that can be visited by players and in some cases scenarios that are to be played out. There are three main categories of levels broken down as “The Inside” (inside the prison), “The Liminal” (in between), and “The Outside” (outside the prison).The InsideThe Inside refers to everything that is wholly Inside the prison.The CellPlayer begins in The Cell. All of player’s personal possessions that are not carried are kept in The Cell. Player must always return to The Cell at regular intervals, each night, throughout the day, and during shakedowns.The CafeteriaAll meals are eaten in The Cafeteria. Unless in solitary confinement, player must attend every meal of the day in The Cafeteria.The YardThe yard is where prisoners are allowed and expected to perform physical exercise. It is also a place where social interactions and a fair deal of dialogue takes place between incarcerated individuals and groups.The ShowersThe showers are where everyone cleans up and they area also a notorious location in popular (mainstream) media for sexual violence in prisons.The Laundry RoomThe laundry room.The Jobsite(s)There are a variety of jobsites where prisoners are forced to work if they want to earn money for their commissary, or in some scenarios where they are just plain forced to work. This is an initial listing that is likely to be expanded upon in further iterations of Prisons & Freedoms. While some of these jobsites actually exist on The Outside or might be otherwise considered not completely The Inside, they are still filed under The Inside because regardless of where the players / prisoners might be, if they are at the jobsite then they are under the control of prison authorities. UniPorcUniPorc is a general manufacturing job in prison that puts prisoners to work creating a variety of civilian and military equipment and even running call centers. It is the Prisons & Freedoms version of the real-world U.S. Government owned company Federal Prison Industries or UNICOR (Ali, 2016).Victor’s SecretVictor’s secret is a lingerie (men’s, women’s, and gender non-conforming) manufacturing and modification jobsite on The Inside inspired by the real-life practice of the major U.S. company Victoria’s Secret use of prison labor (Abdulrauf, 2017; Winter 2008).MacStophelesMacStopheles is a fast food uniform manufacturing jobsite on The Inside. The title is inspired by the scene from Dark Shadows (2012) where McDonald’s is identified as the demon prince Mephistopheles (Juni, 2015) and the real life charge/fact that McDonald’s sources uniforms and utensils from companies that use prison labor (Sloan, 2010) and even to produce frozen foods including the processing of beef for their world famous patties (Riley, 2014). TelekomThis jobsite is a call center on The Inside where various telecommunications companies subcontract the labor of prisoners to cut costs on labor. Inspired by Sprint and Verizon’s use of prison labor (Riley 2014).PharmaKonnThis jobsite is a pharmaceutical industry site on The Inside where prisoners work in a variety of healthcare related tasks including but not limited to acting as test subjects for a range of drugs in development and testing medical restraint devices which will no doubt be used on their fellow prisoners and possibly themselves. The restraint devices aspect of this jobsite takes its cue from the real life company Humane Restraint (Neate, 2016). The pharmaceutical trials takes its cue from the Tuskeegee experiments and other likely and factually existing practices of using prisoners as human subjects including with known lethal substances for executions (Daube and Clune 2011; Johnson, 2017, ). Players have a chance to see an in-game cameo of ‘Pharma bro’ Martin Shkreli (Bloomberg 2017) working at this jobsite. FarmaKonnInspired by Whole Foods’ use of prison labor (Burrows, 2016), this jobsite is where players go to contribute to the food supply of non-incarcerated people who benefit from their forced labor.KultureKorpThis jobsite is where prisoners are forced to produce cultural products for consumption by those on The Outside, including but not limited to fine arts, TV shows, music, and works of theater.GamEkonThis jobsite is inspired by stories of prisoners being forced to gather gold in World of Warcraft (Vincent 2011, Tassi 2011). Working at this jobsite involves playing a faux MMORPG to collect valuable items and currency that the company who contracts the prisoners’ labor will then sell to wealthy and non-incarcerated players of that same game on The Outside.MacroHardInspired by Microsoft’s real life use of prison labor (buycott n.d.; Abdulrauf, 2017; Sloan, 2010; Winter, 2008, ), the MacroHard jobsite has players assembling a variety of component parts for MacroHard products.FarStucksFarStucks is inspired by Starbucks’s real life use of prison labor to package holiday coffees (Riley 2014). When players go to work at FarStucks they will have to participate in a variety of repetitive mundane tasks assembling and packaging café oriented products full of holiday cheer. The ClassroomThe classroom is a site where players can go to attempt to please their parole board as well as to advance their education and improve their chances of gainful employment if and when they ever make it to The Outside or of improving their positioning in the hierarchy of jobs available on The Inside.SolitarySolitary confinement is where players end up if and when they have violations of the rules of The Inside and/or if their storyline based on initial responses positions them as a certain class of political prisoner that the authorities desire to keep isolated from the General Population therein. While in Solitary players may experience Dreams, Visions, and Flashbacks at a higher frequency. One route many players are likely to take while in Solitary is to advance their mastery of astral travel (see 2.7.3.1).The PastorThe Pastor comes in a variety of forms. Depending on the particular prison facility, player may or may not have access to a pastor or religious authority appropriate to their particular religion. Some pastors take a fire and brimstone, repent now and you are in prison because of your sins approach. Other pastors take a more radical and prison abolitionist approach and offer a sense of shared struggle with prisoners.The LiminalLiminal spaces are in-between spaces, neither completely on The Inside nor quite Outside.The MailroomThe mailroom is a place where only those prisoners who happen to work there are able to visit at specified times. It is where all ingoing and outgoing mail is. It is a liminal space because things pass in and out of the prison here.VisitationVisitation is where players have the opportunity to visit with their relations, if and when they are lucky enough to make it in. Parole InterviewParole interview happen before a board of interviewers and are rare occurrences. At parole interviews a variety of factors will be taken into consideration, including the prisoner’s record of behavior while in prison. If prisoner has certain histories and the parole board is not pleased by those histories or unalterable traits then parole is unlikely to be granted regardless of behavior in prison to date. If parole is granted the release process begins and prisoner will be notified of the next steps. The CourtroomPlayers may re-enter the courtroom for a variety of reasons. Some players may begin the game with an ongoing court case depending on what they choose or create as their background. Some players may create new court cases based on actions or petitions from The Inside. Lawyers are hard to come by unless player is connected with individuals or organizations on The Outside. Players who find the proper processes by doing research in the Law library on The Inside can also begin their own appeals and other legal processes by representing themselves pro se.The Escape / Lockup / ReleaseEscape, Lockup, & Release all effect the overall status of the game world and different spaces in a similar way and thus are grouped together here. It is during this time when there is a transition happening from The Inside to The Outside or visa versa and when something might happen to stop that process.The LiberationIn some cases, players might be liberated, or liberate one another after or while escaping themselves (multiplayer) or they might choose to go back and liberate another player or an NPC for whatever reasons.The DreamtimesThe Dreamtimes are a unique space. It is only while Lucid Dreaming (see 2.8.4) that player is actually in control and thus it is not until unlocking that capacity that this other aspect of Prisons & Freedoms opens up for exploration and play.The VisionsPlayers experience a variety of visions intermittently throughout gameplay. All of the visions are suggestive of different pasts, possible lines of flight, futures, and alternate presents. The Visions are not necessarily prophetic, although some can be depending on how players proceed.The FuturesSome possible futures are hinted at through visions during gameplay. Some futures show nothing but destruction and ultimate terror, while others show successful escape or parole and a fully regenerated and healthy planet radically reorganized, thriving and free of war. Many futures show through visions and dreams are more ambiguous than either complete terror or hope.PandemoniumPandemonium is a state of being that arrives to the game world after a certain moment arrives to the clock automatically at some point but which can also occur as a result of other triggers including player’s actions. The timeline for the arrival of pandemonium in the automatic sense is a result of relatively random environmental factors that determine when the next natural disaster will occur. Player triggered pandemonium is most commonly the result of inciting a riot.The OutsideOnce on The Outside, player is much more free to open world exploration. They might acquire maps of prison facilities all around the world and get to work liberating other prisoners. They might also look for maps of megaprojects (Rising Tide North America 2015, UNSOJO 2013) contributing to climate change that they can begin to plot how to shut down in order to save the world and turn down the heat.The Outer PrisonsPlayers who last long enough on The Outside will soon notice, if they had not already, there are a multitude of Outer Prisons that limit people’s freedom of movement and thought. They will learn that borders and border patrol agencies turn nation-states into giant open-air prisons for those who don’t have the proper documentation, especially felons whether legitimately out on parole or on the run as fugitives. They will also soon notice, as they attempt to recruit people on The Outside in the work of liberating other prisoners or shutting down the megaprojects that the majority of people on The Outside have been successfully domesticated by education to accept and perpetrate the violence of civilization on each other and against the earth (AbdelRahim, 2013) and due to receiving the benefits of the “credit” side of the education/prison coin most of them have too much invested to truly risk their freedom on behalf of those on the “debt” side of that coin (Meyerhoff 2015).The MegaprojectsMegaprojects include all major industrial scale projects that contribute to the destruction of earth. The most obvious ones are open pit mines. The more cloaked ones are those that pass themselves off as “green” or “eco-friendly,” such as industrial scale wind farms, that are nonetheless owned by the same financial interests as the fossil fuel companies and continue to wreak havoc on earth’s life systems (viento 2013; Indian Country Media Today 2013).The People(s)As players explore The Outside more and more they will continue to meet a greater variety of people (individuals) and peoples (collectivities). A key part of gameplay and creating the stories on The Outside and ultimately succeeding is to gain an in depth understanding of the varied and often seemingly contradictory or mutually exclusive interests of different peoples without ever losing sight of or solidarity with those still on The Inside. In order to obtain the end goal of Prisons & Freedoms, namely a world in which many worlds fit, it will be necessary to somehow convince or show by example that while certain short sighted interests of different individuals and collectivities appear to be locked into deadly conflict there is in fact ample space and necessity for collaboration across differences and animosities.Figure C: (Free the Move 9, 2017)III – Game ElementsOverviewThis listing of game elements is not meant to be exhaustive or overly detailed. Various aspects are described in the abstract because Prisons & Freedoms comes with developer toolsets for players to create their own particularities and the initial release comes with stock examples meant to be demonstrative but not authoritative. The selection of game elements has been chosen for inclusion into the game with an aim to honoring the real-world struggles of incarcerated people while doing them a service by successfully creating an attractive game by honoring “What Players Want” (Rouse, 2005, pp. 1-19) without sacrificing the interests or images of real-world prisoners. Many other aspects that could be grouped under game elements or otherwise involved in a discussion of the ideas of what goes into making a good game according to Richard Rouse’s Game Design: Theory & Practice have already been discussed elsewhere in this document, so it will be up to readers and players at this point to decide and to know whether or not something is missing from these elements, whether they know what it is or not (Rouse, 2005, p. 18). Of course, if you do know what is missing, I encourage you to let me know what it is.Artificial IntelligenceThe A.I. of Prisons & Freedoms is mostly determined by what allegiances a given NPC holds and/or what organizations they belong to. There are also a range of ideological dispositions.Assumptions, Ethics, & Human NaturesMaslow’s hierarchy of needs (Maslow's hierarchy of needs, n.d.) is taken as a useful reference for determining NPC behavior in Prisons & Freedoms but it is not coded as simply the truth. NPC prisoners/slaves and NPC wardens, slavemasters, correctional staff as they are variously labelled often equally tend toward fear and violence oriented behaviors toward one another because of the conditions of prison life and the logics which operate it. Yet despite the terrible conditions and attempts to exacerbate racial tensions by prison staff as a mechanism of control solidarity still forms across racial lines even among the ideologically committed White Supremacists with Black guerilla fighters (Kite Line Radio, 2017a) or in some cases it can go yet a step further to shows of solidarity by correctional officers to honor prison strikes (Stimulator, 2016; Owen, 2016). Capitalism, slavery, and the prison society all assume that human nature is inherently evil and therefor that coercion and prisons are necessary to police people. One way to view the task of players of Prisons & Freedoms is to either demonstrate that human nature is not inherently evil and there is in fact a great capacity and tendency for good as well or that even if human nature is inherently evil that prisons and capitalism only tend to exacerbate the problem and extend the capacities for evil by putting mechanisms in place that institutionalize it. In other words, players of Prisons & Freedoms are tasked with proving changing the assumptions and ethical practices of A.I. in game by exemplifying other cultures and ways of being.Currencies, Economies, Money & ValuesOn The Outside it is primarily the dollar that dictates NPC behaviors in the realm of currencies. The dollar is the primary mechanism by which corporations, governments, and megaprojects incorporate individuals and their families into the destruction and enslavement of the planet. It will be up to players of Prisons & Freedoms to explore, create, modify & share other ways.CorporationsCorporations are limited liability conglomerates that have hardwired into their A.I., thanks to their human programmers, the idea that all that exists are objects to be captured, controlled, commodified, extracted, distributed, refined and/or otherwise ernmentsGovernments create laws on behalf of corporations and manage prisons, or sell the rights to create and/or manage prisons, to corporations ostensibly in the name of maximizing profits and gross domestic product. Governments use terror in order to maintain control over their subjects.PrisonsPrisons are the primary form of terror employed by governments in Prisons & Freedoms. Prisons, with all of their social formations and different jobsites, act as a microcosm of society more broadly. The abolition of prisons is a primary goal for players of Prisons & Freedoms.Prison GangsPrison Gangs are a form of organization created and maintained within prisons and are made of prisoners of different identity categories. They are most often racially coded but can also be ideologically coded. Dissident political factions are also treated as prison gangs by authorities regardless of their self-identification and explicit purpose and are more heavily targeted for repression by authorities than standard prison gangs when they practice and preach cross racial solidarity against the prison society.WarsWars of The Inside and The Outside are a constant element of Prisons & Freedoms. Players might experience forced transfers from one jobsite to another, or from no jobsite to a jobsite of the government or corporation’s choosing, as a result of the latest War of The Outside depending on what those fighting it deem necessary to the war effort. Wars of The Inside include wars between prison gangs, the war of correctional staff against the prisons, and the insurrectionary war of prisoners for their liberation from prison.CharactersThis is an overall listing of character types that make up the likely cast of any given storyline of Prisons & Freedoms. Because each game is distinct and players can create their own particular storyline this section is a mere listing of character categories without further details.ParentsSiblingsChildrenO?hanaCo-PrisonersBossesWardensJudgesPoliceCorrectional OfficersSocial WorkersDentistsDoctorsLibrariansTeachersPlantsBricksMicrobesSpirit GuidesSunshine / The Sun & SkyLandWaterNon-Human AnimalsRelational Discord & DynamismCollective PunishmentSolidarityBetrayalLoveItemsInside ItemsThe listing of inside items includes all items that can be found or crafted on The Inside. Items marked with a ‘?’ are considered contraband by authorities and will earn player punishments of differing levels depending on the degree of criminality that authorities associate with it, the particular disposition (toward player and toward the particular contraband) of the authority or authorities who find the item and play a role in determining punishment, and past offenses by player. Possible punishments include but are not limited to solidarity confinement, physical abuse, social humiliation, punishment of relations, being cut off from communication with The Outside.Prisoner’s UniformRFID ImplantPrisoner’s Hygiene SuppliesPrison FoodPrison Books and Other Printed MaterialsCommonUncommonRare ?Subversive ?Magic ?Prison Writing MaterialsElectronicsComputers ?Cell Phones ?MP3 Players ?RadiosWalkman ?CD Player (personal) ?Television SetStereo ?Speakers ?Wires ?Video Games ?TelephonesInside WeaponsSoap in a Sock ?Shiv basic ?Shiv advanced ?Shiv masterful ?Poison, basic ?Poison, advanced ?Truncheon ?Tazer ?Tear Gas ?Flashbang ?Pepperballs ?Launcher ?Light bludgeoning ?Heavy bludgeoning ?Chemicals, Drugs, Intoxicants, & Potions ?A – Z ?*Everything possible from A to Z can be found in this category, with varying levels of rarity.*Exceptions to contraband chemicals are prescription drugs which player has an active prescription for. However, in some cases the correctional officer on duty might decide that a prescription is not good enough and decide to confiscate the prisoner’s medication anyways.Liminal ItemsLiminal items are items that exist on The Inside but which nonetheless tell a story about or somehow communicate with The Outside.LettersLetters exchanged between incarcerated people and their relations, including direct and extended family, members of organizations they are a part of, and generally people who do a form of prisoner solidarity work known as letter writing.Prison Manufactured GoodsThis includes all goods manufactured or modified at all Jobsites (see 2.8.9.1.6.). Players who have master level or higher astral power (see 2.8.1.) can use that ability to gain access visions of prison manufactured goods at all previous and future stages of that particular commodity chain, from the site of extraction to the site of consumption and disposal.Personal BelongingsThese contribute to the customization of identity by creating (virtual) physical reminders.GiftsGifts can be from The Outside or from fellow prisoners. Even when they are from fellow prisoners they are considered as Liminal Items because the very nature of a gift is to occupy an “in between” space between two or more people. Gifts stimulate recall of past simulated experiences, virtual personages and their significance. Some gifts are contraband while others are not. Gifts that are contraband and which end up being confiscated can be a driving mechanism for the storyline and future actions by player(s).Audio RecordingsAudio recordings in the form of old tapes, CD’s, or MP3 players can be created, found, and moved about. When the content of such audio recordings are of an Outside source, they are considered to be Liminal Items.Outside ItemsOutside items are items that exist on The Outside. Items that are both entirely prohibited in prison AND entirely uncommon are still considered Outside Items even while on The Inside.Anything and EverythingItems which exist on The Outside is at least equally expansive a list as that which exists in the real world.Dreams, Hopes, Goals & QuestsThe following are the five primary motivators for the protagonists of Prisons & Freedoms.FreedomLove PowerRomanceA World in Which Many Worlds FitThis final category merits an explanation. The end goal is “A World in Which Many Worlds Fit” meaning that it could be any world not based in prison slavery and the destruction of the planet that players come up with. There are various unique solutions (Rouse, 2005, pp. 116-118) to smaller problems throughout the game based on the elements and mechanics of the game. The end game element of the prime epic quest being “A World in Which Many Worlds Fit” basically says that players have the option of weaving any of an infinite number of solutionary worlds, as long as it is not premised on the destruction of other worlds and is compatible with multiplicity. It is likewise non-linear (Rouse, 2005, pp. 119-124) in that there is no pre-destined A to Z path of how players are required to abolish prisons and create free societies. It models reality (Rouse, 2005, pp. 125-127) in that the elements are all direct replicas of or designs inspired by real-world objects, relations, and organizations. The idea and ways of “teaching the player” (Rouse, 2005, pp. 127-131) has already been detailed extensively throughout section I of this document.Figure D: Early image of mural in Afrikatown in Oakland, CA (Afrikattown Mural, 2015)IV – Story Overview & Game ProgressionThis is story of life in prisons and quests for freedom. There is a multiplicity of timelines based on players selecting from a variety of existing pre-programmed options that can be mixed and matched for a massive diversity of storyline experiences. Players can also custom write their own responses to the narrative dialogue prompts regarding their background and other details instead of selecting pre-programmed responses to create an even greater range of possible play experiences. All choices in terms of responses to dialogue pop-ups that form the narrative of the story and all direct interactions with other entities in the game have consequences for which possible future timelines open up and which are foreclosed. Initial questions that players respond to all solicit the details from the player as to who they were on The Outside and what landed them in prison to begin with. The range of pre-programmed dialogue options is meant to be instructive regarding the wide range of possibilities from crime, guilt, innocence and the more complex as a teaching tool for the politics of the prison system and raising awareness for prison struggles.The setting is a fictional world that is indisputably fascist and thoroughly totalitarian in nature. Magic is a very real and active force in this setting and the main struggle of the totalitarian regime in charge of the world has been to maintain its dominant position by maintaining control of magic. For this reason, many are raised to believe that magic is not real, except for the magic of the regime itself which calls it something other than magic. Thus, prisons keep magic suppressed within their walls to prevent escapes. This is primarily done through the food, clothing, hygiene products, and anti-magic machinery located in secret and heavily guarded areas of the facilities. Despite the heavy degrees of anti-magic, all players begin with the basic magic of empathy which allows them to feel to at least a small degree what others are feeling. Soon into the storyline, once certain actions and/or dialogue choices have been achieved the, players will unlock the Psychic Prison Rebel Radio channel which allows them to begin receiving broadcasts on the prison rebel radio network in their mind’s ear. Some broadcasts are directly imported from our reality into that of the fictional game world and others are created specifically suited to the (prison) struggles of the game world. A clear distinction is made between real world broadcasts and those in the game world so players can easily identify which world (game or reality) they are talking about. Players are also able to create their own broadcasts to narrate the struggles from within their prisons, which are isolated instances of assemblages of NPC’s for each individual player, and then broadcast them out. The Psychic Prison Rebel Radio channel serves as a core narrative tool and game mechanic for advancing the plot and shared sense of community and collective rebellion in single player and multiplayer modes in this way.The end of the story is almost always massive catastrophe on earth and often prisoners are eliminated by the governments and corporations controlling them before they are ever given a chance to be paroled or to hatch their escape plans. When catastrophe strikes earth as a whole or whatever locality where the prisons are, it is a matter of state procedure to eliminate the prisoners for fear of their escape. Occasionally the prisoners will not all be exterminated but simply abandoned and left for dead. These scenarios leave a slight chance of escape amid crises.For those who eventually make it out of prison, the next challenge is to reformat the broader society such that prisons no longer exist. The end goal of the game, which few players are likely to attain, is a world in which many worlds fit, a world where there are no more megaprojects depleting the earth’s lifeblood and no more prisons kidnapping and holding captive those who dare to evade complicity in the crimes against the planet. With the creative, design, programming, and narrative tools woven into the game players will be permitted to develop myriad maps out of the prison society of the fictional fascist world they begin play in. The overall storylines at the “end” of the game for those who manage to escape prison and stop the planet from burning everyone alive are completely dependent on the ingenuity of the players. For those who do progress so far along, the game never really has to end as they can always continue to entertain and explore the new challenges that arise in the societies they create after prison. Basic outline of some plausible timelines for players of Prisons & Freedoms:Prison cell Prison cell good behavior deathPrison cell bad behavior solitary confinement deathPrison cell good behavior successful parole creation of a stable life despite the odds deathPrison cell good behavior parole denied escape plans deathPrison cell bad behavior escape plans successful escape successful stoppage of megaprojects destroying the planetdeath by cometPrison cell good behavior parole granted gainful employment consistently blocked due to “convict” status starvationPrison cell good behavior parole granted gainful employment consistently blocked due to “convict” status life of crime and expropriation successful stoppage of megaprojects utopian society established governance imprisonment in new (counter) revolution leave through portal to another dimension imprisonment by special anti-magic forces repeatPrison cell escape plans successful escape visit family and children before death or re-imprisonmentPrison cell escape plans flee to underwater interdimensional mermaid societyPrison cell ________ __________ __________ _________ V – Art by and/or for Political Prisoners Figure E: “Retro Justice” by Khalo (Khalo, n.d.)Figure F: Sean Swain’s “Trump” (Swain, 2017)Figure G: Celebration of Life “Constitutional Protest Through the Arts” (Guerrilla Publik, 2014)Figure H: Leonard Peltier’s Once We Were All Free (Peltier, 2010)Figure I: Free Maroon (Penya, 2014)Figure J: Assata Collage (Rashid, 2010)VI – BibliographyBibliography & Recommended Sources20 Astral Projection Myths Busted. 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Learning by design. E-Learning. Vol. 2, No. 1.Goodyear-Ka?ōpua, Noelani and Baker, Mary Tuti. (2012). The Great Shift: Moving Beyond a Fossil Fuel-Based Ecnomy. Hūlili: Multidisciplinary Research on Hawaiian Well-Being. Vol. 8 (2012). Retrieved from Green, Cheryl. (2016, September 15). Locked Down: On Disability and Incarceration. Retrieved from Groom, Nichola. (2015, June 7). INSIGHT-Prison labor helps U.S. solar company manufacture at home. Reuters. Retrieved from Guerrilla Republik. (2014, March). Celebration of Life! [Image file]. Retrieved from Haraway, Donna J. (2016).?Staying with the Trouble: Making Kin in the Chthulucene. Durham; London: Duke University Press.Harney, S., & Moten, F. (2013).?The Undercommons: Fugitive Planning & Black Study. Wivenhoe ; New York ; Port Watson : Minor Compositions. Retrieved from Hayden, Scott. (2017, June 22). Hands-on: IBM Watson Brings Voice Commands to ‘Star Trek: Bridge Crew’. Retrieved from Herod, J. 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