https://www.americanmcgee.com/asylumwiki/api.php?action=feedcontributions&feedformat=atom&user=MartinAsylum Wiki - User contributions [en]2026-06-19T18:33:38ZUser contributionsMediaWiki 1.31.1https://www.americanmcgee.com/asylumwiki/index.php?title=An_Inmate%27s_Guide_to_Discord&diff=396An Inmate's Guide to Discord2018-08-26T03:13:14Z<p>Martin: </p>
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<div>=== General Code of Conduct: ===<br />
<br />
We all want to see Alice Asylum grow into a successful game. Our community is being given the unique privilege of being part of a game’s development from idea to completion. This means, as a whole, we should be patient with American and Martin (can’t forget Lulu either) as they work through the process. American and Martin have been exceptionally transparent with the entire process, so if there is news about anything from ideas to models to actual gameplay they will let us know in their own time. <br />
<br />
Until the day we see the game released, and even after, let’s work together to ensure our Discord remains positive, supportive, and empowering to all who join, share ideas, participate, and even lurk (I know some of you have that as a superpower). We have a common goal, but we can make sure that no matter what happens, we remain a welcoming and encouraging community. <br />
<br />
=== How to Join Discord: ===<br />
<br />
Martin has written an exceptional post on how to become a member and install Discord [https://www.patreon.com/posts/so-discord-20911502 here]. To access our Wonderland Discord server, you need to be at the Patreon level of $5 or more.<br />
<br />
=== New to Discord? ===<br />
<br />
This is not meant to be a comprehensive guide, but a simple one to help you get started. If you want to learn more there are many of us in the community who can help you! Just ask. <br />
<br />
There are several different platforms you install the Discord App on. You can connect to Discord via any browser (FireFox, Chrome, Edge, etc). You can download the app to your desktop (Windows, Mac, Linux), or you can install it on your smartphone (iPhone, Android, Windows). <br />
<br />
===Emojis:===<br />
<br />
Everyone wants to know what emojis we have and how to access them. In general you can just click on the emoji on the right side of where you type unless you’re on an IPhone, then you need to actually type out the emojis. <br />
<br />
You can call into existence each emoji by typing the name of the emoji and putting a : in front and at the end. As an example, I’m obsessed with nani! So I type :nani: and magically it appears! <br />
<br />
Here is the current available Wonderland specific emojis:<br />
<br />
* vorpal<br />
* stare<br />
* orly<br />
* nani<br />
* lulu<br />
* chesh<br />
* cater<br />
<br />
===Channels:===<br />
<br />
We have several channels, and it helps to try and keep the to the topic of each channel so that everyone can get a general idea of what you’re talking about. While it’s impossible to be 100% on topic at all times, do try and move to a different room if you want to go too far off into a tangent. <br />
<br />
'''Our text rooms are:'''<br />
<br />
* <nowiki>#general-asylum-chat - We talk about everything from Alice to hair color. We try to keep this focused on Alice, but it does tend to be our most active channel so topics can vary widely. </nowiki><br />
* <nowiki>#announ</nowiki>cements - Anything that American and Martin want us to know will go here. Our job is to celebrate with as many emojis as possible.<br />
* <nowiki>#the-wardrobe - Everything from discussion on dresses in Alice Asylum to </nowiki>cosplay. Let’s see your creativity in action. And for those of us with no sewing skills, celebrate how amazing our cosplayers are!<br />
* <nowiki>#the-armory - Have an idea about weapons? Maybe you have an idea that relates to the other games you want to see expanded upon. This is your channel </nowiki><br />
* <nowiki>#the-looking-glass - When a</nowiki> stream occurs, this is the place to talk about it. We know how hard it can be to catch each stream, but this is the place to talk about what you have seen, or if you’re lucky, watching!<br />
* #wiki-chat - We have a fantastic wiki being handled by amazing wiki-ologists. (I didn't make that word up. You made that word up. :P ). If you feel something needs to be added, modified, or updated, let the fantastic wiki team know here.<br />
* <nowiki>#off-topic-</nowiki>flumf - All manner of flumf happens here. <br />
<br />
We do have a general voice channel, where if you desire, you can speak with other inmates. It’s not used often yet, nor have we made plans to keep it to just one room. We are just developing as a Discord Alice community. Who knows what may happen in the future?</div>Martinhttps://www.americanmcgee.com/asylumwiki/index.php?title=Alice:_Madness_Returns_enemies&diff=339Alice: Madness Returns enemies2018-08-22T05:10:32Z<p>Martin: </p>
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<div>[[File:AMRenemies.jpg]]<br />
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[[Enemies|'''<<<Back''']]</div>Martinhttps://www.americanmcgee.com/asylumwiki/index.php?title=American_McGee%27s_Alice_enemies&diff=338American McGee's Alice enemies2018-08-22T05:10:18Z<p>Martin: </p>
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<div>[[File:AMAenemies.jpg]]<br />
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[[Enemies|'''<<<Back''']]</div>Martinhttps://www.americanmcgee.com/asylumwiki/index.php?title=Enemies&diff=337Enemies2018-08-22T05:09:54Z<p>Martin: </p>
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<div>* [[AMAenemies|'''American McGee's Alice''']]<br />
* [[AMRenemies|'''Alice: Madness Returns''']]<br />
* [[AAenemies|'''Alice: Asylum''']]<br />
<br />
[[Main Page|'''<<<Back''']]</div>Martinhttps://www.americanmcgee.com/asylumwiki/index.php?title=Alice:_Madness_Returns_enemies&diff=336Alice: Madness Returns enemies2018-08-22T05:08:55Z<p>Martin: Created page with "File:AMRenemies.jpg"</p>
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<div>[[File:AMRenemies.jpg]]</div>Martinhttps://www.americanmcgee.com/asylumwiki/index.php?title=File:AMRenemies.jpg&diff=335File:AMRenemies.jpg2018-08-22T05:08:43Z<p>Martin: </p>
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<div></div>Martinhttps://www.americanmcgee.com/asylumwiki/index.php?title=American_McGee%27s_Alice_enemies&diff=334American McGee's Alice enemies2018-08-22T05:07:33Z<p>Martin: Created page with "File:AMAenemies.jpg"</p>
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<div>[[File:AMAenemies.jpg]]</div>Martinhttps://www.americanmcgee.com/asylumwiki/index.php?title=File:AMAenemies.jpg&diff=333File:AMAenemies.jpg2018-08-22T05:07:17Z<p>Martin: </p>
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<div></div>Martinhttps://www.americanmcgee.com/asylumwiki/index.php?title=Enemies&diff=332Enemies2018-08-22T05:05:02Z<p>Martin: Created page with "* '''American McGee's Alice''' * '''Alice: Madness Returns''' * '''Alice: Asylum'''"</p>
<hr />
<div>* [[AMAenemies|'''American McGee's Alice''']]<br />
* [[AMRenemies|'''Alice: Madness Returns''']]<br />
* [[AAenemies|'''Alice: Asylum''']]</div>Martinhttps://www.americanmcgee.com/asylumwiki/index.php?title=Main_Page&diff=331Main Page2018-08-22T05:02:50Z<p>Martin: /* Alice: Asylum */</p>
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<div><center>[[File:Construction.png]]</center><br />
<center>[[File:Header.jpg]]</center><br />
<center><span style="color:#ff0000">'''All ideas, art, suggestions and other content are not guaranteed to make it into the final product'''</span></center><br />
<br />
<br />
== Alice: Asylum ==<br />
<br />
* [[Story|'''Story''']]<br />
* [[Characters|'''Characters''']]<br />
* [[Gameplay|'''Gameplay''']]<br />
* [[Weapons|'''Weapons''']]<br />
* [[Enemies|'''Enemies''']]<br />
* [[Dresses|'''Dresses''']]<br />
* [[Audio|'''Audio''']]<br />
* [[Community Ideas|'''Community Ideas/Suggestions''']]<br />
<br />
== Frequently Asked Questions ==<br />
* [[FAQ|'''FAQ''']]<br />
* [[Timeline|'''Timeline''']]<br />
<br />
== Alice Games ==<br />
* [[American Mcgee's Alice|'''American Mcgee's Alice''']]<br />
* [[Alice: Madness Returns|'''Alice: Madness Returns''']]<br />
<br />
== Community Involvement ==<br />
<br />
* [[Live Streams|'''Live Streams''']]<br />
* [https://www.reddit.com/r/AliceAsylum/ '''Subreddit''']</div>Martinhttps://www.americanmcgee.com/asylumwiki/index.php?title=Live_Streams&diff=330Live Streams2018-08-22T04:59:04Z<p>Martin: </p>
<hr />
<div><br />
{| class="wikitable sortable"<br />
|-<br />
! Title<br />
! Date<br />
! Link<br />
! Description<br />
|- <br />
| Alice in my Head - An Asylum on Mercury<br />
| August 23rd, 2018<br />
| https://www.youtube.com/watch?v=rPFv77kRqK8<br />
| American and Martin are back with another adventure into madness. During this week's stream we'll reveal a new collection of Alice's dresses, talk about Discord among the Inmates, review the final presentation of the Chaos Coin Set, and watch as American gets lost, falls down holes, and drowns.<br />
|-<br />
| (EU Edition) Alice's Slice & Dice Adventures - Asylum, Chaos, and AMA<br />
| August 17th, 2018<br />
| https://www.youtube.com/watch?v=JDkYUSk1oow<br />
| *** ! Special EU Timezone Broadcast ! *** American returns from Bangkok to rejoin Martin in the Underground Lair where they discuss developments on Alice: Asylum and talk about (IN DETAIL) how YOU can get your hands on The Chaos Coin. <br />
|-<br />
| Follow the White Rabbit - Into Asylum!<br />
| August 9th, 2018<br />
| https://www.youtube.com/watch?v=ysM-2wGsKWs<br />
| American and Martin once again tripping down the Rabbit Hole and straight into Wonderland! Today's adventure will include Alice: Asylum art review (TONS of new art), Out of the Woods update, Patreon Q&A, prizes, and LULU!<br />
|-<br />
| Cult of the White Rabbit - Alice Down the Chaos Hole<br />
| August 2nd, 2018<br />
| https://www.youtube.com/watch?v=MRiarwZbbPM<br />
| American and Martin's further exploration of Chaos in the World Down Under. We'll discuss the latest art, design, and story developments on Alice: Asylum. American will fall into holes, drown, incinerate, explode, and otherwise die. Repeatedly. Martin will Martin. And Lulu!<br />
|-<br />
| style="width:20%; | Alice: Asylum - Burning Down the House<br />
| style="width:150px; | July 19th, 2018<br />
| https://www.youtube.com/watch?v=W4vxD3xmDN8<br />
| style="width:50%; | American and Martin are back with another episode of "Man Falls in His Own Damn Hole" in which they discuss poorly designed holes, Alice: Asylum, Out of the Woods, fashion, stories, and the mystery of who burned down Alice's F'ing House. F!<br />
|-<br />
| Asylum: Dressed in Denial - Alice and The Alchemist's Tailor<br />
| July 13th, 2018<br />
| https://www.youtube.com/watch?v=KtkQC8L-HjM<br />
| American and Martin continue their quest through the lava fields and bottomless pits of "American McGee's Alice" while musing on the insanity of fashion - or fashion for the insane. Get it straight or you'll wear a jacket. Oh, and it's a Friday the 13th stream (at least where we are)! In this stream we'll continue to discuss Alice's new wardrobe of dresses and the progress being made on Asylum. Also updates on Out of the Woods and shipping things from China. Yay!<br />
|-<br />
| Alice: Asylum - The Guilt Dress and the Fashion Alchemist<br />
| July 5th, 2018<br />
| https://www.youtube.com/watch?v=vZsIEIjuT6Y<br />
| American and Martin are back with another batch of new art, design, and narrative from Alice: Asylum. We'll take a look at the new Guilt Dress and discuss a potential redesign of the original Blue Dress. We'll also respond to your Patron questions and comments while American flails, falls, and dies his way through "Alice" with Lulu by his side. Yay!<br />
|-<br />
| Alice: Asylum from the Underground Lair <br />
| June 28th, 2018<br />
| https://www.youtube.com/watch?v=f8C-kgRhkXg<br />
| American and Martin are back with the first ever broadcast from the underground lair. We'll continue our play through of "American McGee's Alice" while discussing the progress being made on the PPT for Alice: Asylum.<br />
|-<br />
| Alice: Asylum - Final Stream from the Old Ward <br />
| June 21st, 2018<br />
| https://www.youtube.com/watch?v=NjgXOYqsShg<br />
| American and Martin are back with a final stream from the old studio in the center of Shanghai. We'll review artwork from Joey, Alex, and Omri. A new version of the License PPT will be browsed. And we'll enjoy the soothing sounds of American falling repeatedly to his death in "American McGee's Much Falling Death Very Alice Game" - Yay! <br />
|-<br />
| Alice: Tweedles in the Asylum - Flee and RUN! <br />
| June 7th, 2018<br />
| https://www.youtube.com/watch?v=vWMcCQOEQfE<br />
| American and Martin are back for more of your favorite falling-dying adventure game "American McGee's Alice." We'll discuss progress on Alice: Asylum, watch American fall repeatedly to his death, talk about "Out of the Woods," and... prizes? Lulu? <br />
|-<br />
| Alice: Asylum Presentation Review (EU Edition)<br />
| May 30th, 2018<br />
| https://www.youtube.com/watch?v=Fyb0ZPtX0mo<br />
| American and Martin host a special EU time-zone live steam where the Alice: Asylum PPT in near-final format will be reviewed in real-time. We'll talk about the Asylum pitch, use of the license, overall goals for the Asylum enterprise, and more. This is your chance to provide feedback to the team and have your voice heard. <br />
|-<br />
| American McGee's "All Paths Lead to Death" Alice<br />
| May 25th, 2018<br />
| https://www.youtube.com/watch?v=Fyb0ZPtX0mo<br />
| American continues to stumble around, get lost, and die repeatedly in his own creation while Martin questions his ongoing association with someone who clearly CAN'T GAME. Meanwhile the two discuss progress on Alice: Asylum pre-production and Out of the Woods production. Lulu chews on a bone and pretends not to understand what's going on. Oh, and prizes. There will be prizes.<br />
|-<br />
| "American McGee's Falling, Drowning, Dying 2000" AKA "Alice"<br />
| May 15th, 2018<br />
| https://www.youtube.com/watch?v=g68f7QL6Nbk<br />
| American and Martin are back with more "American McGee's Alice" AKA "Falling, Drowning, Dying Simulator 2000" and updates on Alice: Asylum, Out of the Woods, and more.<br />
|-<br />
| Alice: Asylum - McGee Plays "Alice" in Hatter's Workshop<br />
| May 4th, 2018<br />
| https://www.youtube.com/watch?v=XGhKEMsWa-4<br />
| American and Martin are back with a new studio setup, Asylum news, and more of American falling and drowning his way through "American McGee's Alice" - don't miss out!<br />
|-<br />
| Alice: Asylum - The Shape of Chaos - American Plays Alice!<br />
| April 27th, 2018<br />
| https://www.youtube.com/watch?v=FFfARY032jk<br />
| American and Martin are back with more Alice: Asylum art and design updates. We'll talk about manufacturing progress on Out of the Woods, ideas for expanding Pirate Jam into something more... meaty. And our evolving thoughts on the Chaos Coins (in-game and real). All the while American will continue his journey through "American McGee's Alice."<br />
|-<br />
| Alice: Paradise Returns - Asylum from the Pirates!<br />
| April 20th, 2018<br />
| https://www.youtube.com/watch?v=Ne8HRtnPmSY<br />
| Back from Pirate Jam with a tan and a smile, American brings you the latest on Asylum, Out of the Woods, and the world's sunniest game jam. <br />
<br />
Martin and Lulu are also along with a ho ho ho and a bottle of rum. We'll go through Patron comments and discuss design and presentation of the Alice: Asylum pitch to EA. <br />
<br />
We'll also continue to float and stab our way through Wonderland in "American McGee's Alice" - yay!<br />
|-<br />
| Let's Play "American McGee's Alice" with American McGee!!!<br />
| March 22th, 2018<br />
| https://www.youtube.com/watch?v=nZS-q_sxMM8<br />
| American and Martin are back with the one you've been waiting for: the first M-rated game ever published by EA, the game that out-gothed them all, the baddest of bad-ass heroines... American McGee's ALICE!<br />
<br />
Join us as American jumps, floats, stabs, and shrinks his way through the one that started it all. Along the way we'll discuss development of the original game, progress on "Alice: Asylum," and all the usual - Out of the Woods, Pirate Jam, and your Patreon comments.<br />
|-<br />
| Alice: Asylum - Inmates take over the Madhouse<br />
| March 15th, 2018<br />
| https://www.youtube.com/watch?v=KAdwoLPUYGE<br />
| American and Martin are back with details about Alice: Asylum, Out of the Woods, Pirate Jam, and more! We'll discuss the latest concept illustrations from Joey and have a look at Alex's Inmate Certificates for Patrons. There's also a collection of really cool embroidery patches done by Jennifer D'aww and which will be given out as Patreon rewards when we hit 1000 Patrons!<br />
|-<br />
| Alice's Inmate Update from the Asylum<br />
| March 8th, 2018<br />
| https://www.youtube.com/watch?v=blPItgutEeE<br />
| American and Martin are back (finally!) with a massive update on all things Alice: Asylum, Pirate Jam, and Out of the Woods. American took off for a month of sailing around the Andaman Sea - but he's back with a tan and a whole bunch of news! Oh, and Lulu too!<br />
|-<br />
| Save Yourself, Alice! Asylum in the Woods with Pirates!<br />
| January 26th, 2018<br />
| https://www.youtube.com/watch?v=BEV38f6-dj0<br />
| American and Martin have lots to catch up on... we'll talk about latest art and design for Alice: Asylum, read your feedback on the Asylum license presentation; take a look at physical mock-ups and final card art for Out of the Woods; and review the latest planning and product design for Pirate Jam. Woo!<br />
|-<br />
| Alice: Asylum - Pitch Review - Emily Browning as Alice?! India Eisley too!?!?! Madness!<br />
| January 19th, 2018<br />
| https://www.youtube.com/watch?v=Rz6-bhkrgzM<br />
| American and Martin will step through the bare-bones Alice: Asylum presentation while taking your feedback and suggestions. We'll also discuss the merits of Emily vs. India vs. Angela as Alice. Martin will fondle with his furry box for all to see (gross, Martin). And we'll talk about how YOU can get hands on an official, autographed, and numbered Inmate Certificate. Woooo!<br />
|-<br />
| Alice: Madness Returns BETA DEMO Insanity in the Alice 3 Asylum<br />
| January 12th, 2018<br />
| https://www.youtube.com/watch?v=O5usNGJ-e1E<br />
| American and Martin discuss the latest progress on Alice: Asylum, Out of the Woods, Pirate Jam, and... talk about the mysterious Alice: Madness Returns BETA DEMO (ohoooohhhooooo! ***mysterious!***). <br />
<br />
We'll also talk about the Alice feature film and fan feedback on who should play Alice.<br />
|-<br />
| Alice 3 - Asylum for Angelababy?<br />
| January 5th, 2018<br />
| https://www.youtube.com/watch?v=m2SjS2aBAOE<br />
| American and Martin discuss all the latest with pre-production on Alice: Asylum, planning for Pirate Jam 2018, manufacturing of Out of the Woods, and more. Expect prizes, Lulu, Mysterious things, and madness.<br />
|-<br />
| Hellblade: Senua's Sacrifice - Alice: Asylum Research Lab - Mysterious Chaos and MORE!<br />
| December 14th, 2017<br />
| https://www.youtube.com/watch?v=V8YtFlpbt3g<br />
| American, Martin, and Lulu continue discussions around Alice: Asylum. We'll take a look at Hellblade: Senua's Sacrifice for fun and inspiration. Also expect updates on the Chaos stuff at Mysterious, preparation for Pirate Jam 2018, and the latest on Out of the Woods. Woo!<br />
|-<br />
| Chaos Labs - Killing Bumby, Alice: Asylum, Mysterious Things, and we're Almost OUT OF THE WOODS!<br />
| December 5th, 2017<br />
| https://www.youtube.com/watch?v=tFOUODjNomI<br />
| American and Martin finally KILL Dr. Bumby once and for all. They also discuss the latest pre-production progress on Alice: Asylum, answer questions from Patrons, update you on new additions to the Mysterious Shop, and take a look at the Out of the Woods production notes.<br />
|-<br />
| Alice: Meow & Woof - Asylum Pre-Production, Madness Returns Returns, Out of the Woods, and PRIZES!<br />
| November 14th, 2017<br />
| https://www.youtube.com/watch?v=MTnzQ211aXY<br />
| Another day another live stream from lovely Shanghai, China. American and Martin bypass the Great Firewall to bring you the latest on Alice: Asylum, Out of the Woods, and Pirate Jam. Patron comments will be addressed and prizes will fly. Don't be late!<br />
|-<br />
| Alice: Mad Hatterness Returns - Asylum Progress - Out of the Woods Update - And PIRATES, ARG!<br />
| November 8th, 2017<br />
| https://www.youtube.com/watch?v=5d72RlWBiDM<br />
| American and Martin use a NEW CONTROLLER to continue their maddening progress through Alice: Madness Returns while talking about Alice: Asylum, celebrating about ALL THE ART being done for Out of the Woods, and getting arg'y about Pirate Jam 2018. We'll also give away skull bracelets and a mystery prize!<br />
|-<br />
| Alice: Asylum & Madness + Out of the Woods + Pickles<br />
| November 2nd, 2017<br />
| https://www.youtube.com/watch?v=jOINc634dzQ<br />
| American and Martin are back after American's trip to the US. We have lots of updates across "Out of the Woods" and "Alice: Asylum." During this live stream we'll discuss Patreon comments about "Asylum" and Kickstarter comments about "Out of the Woods." We'll also give away prizes - skull bracelets and even a Vorpal Umbrella!<br />
|-<br />
| Alice Wood Asylum?! - The Madness : Playing A:MR; Talking OOTW and Asylum<br />
| October 19th, 2017<br />
| https://www.youtube.com/watch?v=4TT7wDABqOk<br />
| Wood Alice Asylum?! How many Asylum's Wood Alice <br />
<br />
American and Martin are back with a tremendous amount of updates across "Out of the Woods" and "Alice: Asylum." During this live stream we'll discuss Patreon comments about "Asylum" and Kickstarter comments about "Out of the Woods." We'll also give away prizes - skull bracelets and even a Vorpal Umbrella!<br />
|-<br />
| Alice: Asylum Q&A and Patreon Comments<br />
| October 9th, 2017<br />
| https://www.youtube.com/watch?v=jknH8WjrWFM<br />
| American and Martin respond to questions and comments posted across YouTube, Facebook, and Patreon. We'll talk about design and art for Alice: Asylum while checking out new art and ideas.<br />
|-<br />
| Alice Madness in the Asylum - The face of young Alice + The littlest Cheshire Cat<br />
| October 3rd, 2017<br />
| https://www.youtube.com/watch?v=bgTprNAO4Ho<br />
| American McGee and Martin (he who has no last name) continue their adventures through Alice: Madness Returns. We'll talk about design and production of that game, look at progress on "Out of the Woods" and check out... the new face of Alice from "Alice: Asylum."<br />
|-<br />
| Alice: Madness Continues - The Reveal of Young Alice's Face!<br />
| September 27th, 2017<br />
| https://www.youtube.com/watch?v=r2PZR1flqH4<br />
| American McGee continues to battle his way through Madness Returns while he and Martin discuss that game's design, progress on "Out of the Woods," AND... we take a look at early concept artwork from "Alice: Asylum!"<br />
|-<br />
| Alice: Streaming Returns - "Alice 3" Discussion Redux<br />
| September 14th, 2017<br />
| https://www.youtube.com/watch?v=56CcomzPPug<br />
| American and Martin are back with improved streaming throughput! We'll pick up where yesterday's painful stream died. Let's talk Alice 3 progress and answer your questions. Yay!<br />
|-<br />
| Alice: McGee Returns<br />
| September 6th, 2017<br />
| https://www.youtube.com/watch?v=mohsoD6yROo<br />
| American McGee faces off against his mortal enemy - "Alice: Madness Returns." During this live stream we'll review progress on "Out of the Woods," talk about Alice 3, and... try to figure out why half of NeoGAF thinks American's a nazi?<br />
|}<br />
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[[Main Page|'''<<<Back''']]</div>Martinhttps://www.americanmcgee.com/asylumwiki/index.php?title=Movement&diff=325Movement2018-08-21T07:27:54Z<p>Martin: </p>
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<div>Alice’s movements will be controlled with a Mario-3D like control system. The analog stick will control movement while buttons are used for jumping and combat.<br />
<br />
Alice’s movement through the world and interaction with characters is intended to be as fluid and intuitive as possible.<br /><br />
<br />
<br />
'''The Real World'''<br />
<br />
:: In London Alice’s movements show the struggles and limitations of a young woman trying to find out the truth. We see her stumble at times when she tries to find her balance. Alice’s moves are limited to physically realistic options like walking, running, jumping, etc.<br />
:: Depending on the scene Alice’s movement and animations will change. However this will not affect player input.<br />
:: For example during a short time frame after Alice is pulled out of the Thames she’ll shiver while she walks from being cold.<br /><br />
<br />
<br />
'''Wonderland'''<br />
<br />
:: By contrast in Wonderland Alice is in her element – her only limitations being with her imagination and her fears.<br />
:: She’s able to glide, jump, and land in a fantastically reasonable fashion.<br />
:: Several critical gated abilities will be in Wonderland which will allow Alice to overcome obstacles in a unique fashion: growing big, taking her head off to roll it like a ball, and deep water swimming.<br /><br />
<br />
<br />
* RUN SPEED<br />
** Alice will have a range of basic movement speeds (walk to run) that correspond to the analog range on the Left Analog Stick.<br />
<br /><br />
* JUMPING<br />
** Pressing "X" triggers a jump, the longer "X" is held, the higher the jump will be- up to the limit set for maximum jump height. <br />
** While jumping, the player will retain a limited degree of air control. In midair, momentum and trajectory can be adjusted with directional input via the Left Stick.<br />
** Initial aerial momentum of jump is determined by player movement speed at time of jump. The faster the player is moving the more initial forward momentum the jump will have.<br />
** Alice has two distinct movement speeds which will affect jump momentum: walking and running. When standing still, jumping will launch Alice directly upward.<br />
** When landing from a jump, Alice will immediately continue moving at the rate determined by player input without delay.<br />
<br /><br />
* DOUBLE JUMP<br />
** A double jump is used to extend the height and distance of a regular jump by performing a second jump in midair.<br />
** At any point between the launch and peak of the jump, the player can press "X" a second time to perform a double jump.<br />
** The second jump will have a different animation, but otherwise follows the same constraints as a normal jump, and can still be affected by player air control.<br />
<br /><br />
* FLOAT<br />
** Instead of the player being able to hold down the “X” button to maintain float until they have touched the ground there will be a deflation cycle over time. <br />
** The player must press and hold the “X” button again in order to begin the cycle again.<br />
** Each time the cycle repeats it becomes shorter so if the player mashes prematurely they’ll reduce the maximum achievable float distance.<br />
** Floating over a distance would be like a series of smaller curves within a continually declining float arc.<br />
** In order to maintain current level structure the maximum distance achievable should not exceed the current arc.<br />
** If the player enters the steam vent volume then the float cycle will reset itself.<br />
*** Controls<br />
**** In order to initiate float the player will press and hold the “X” button after the first initial jump. <br />
**** To maintain float for a longer distance they will simply press and hold the “X” button at the correct intervals.<br />
**** As it does now letting go of the “X” button will immediately cause Alice to fall at her normal falling rate.<br />
*** Visuals<br />
**** During each cycle of the float an animation, sound and particle will play. <br />
**** Particles and sound should help give an indication to the player as to when they should start their next float cycle.<br />
<br /><br />
* SLIDING<br />
** While in Wonderland Alice will also slide on particular surfaces where player will have some limited control over her movement.<br />
** Sliding within Wonderland will be triggered when Alice hits the trigger volume on specific surfaces. <br />
** Alice’s animations will blend from walking/running to a sliding animation when she hits the trigger volume.<br />
*** Movement while Sliding<br />
**** Alice can strafe left or right while sliding down while the animation will slow a slight turn.<br />
**** User will be able to slow or speed up Alice by pressing back or forward on the Left Analog Stick. <br />
**** Limits to slowest speed and fastest speed will be set; Alice will not continually speed up faster and faster infinitely.<br />
**** In order to maintain top speed Alice needs to stay within the central part of the slide. <br />
**** If Alice gets close to the edges of the slide she will lose speed.<br />
**** A half-pipe/bobsleigh type feel would provide more fun and feedback. <br />
**** The force of a turn should push Alice to the opposing side of the slide. The player must respond or risk falling being slowed.<br />
*** Camera<br />
**** Camera will follow the slide path.<br />
*** Notes<br />
**** Collectibles can be placed on the slide.<br />
**** Adding Timed slide challenges: beat the obstacle or the self-destructing slide.<br />
<br /><br />
* JUMP PADS<br />
** Jump pads will fling Alice upward very quickly. During ascent, the player will have very limited air control. <br />
** After reaching the peak of flight, Alice will begin to fall. <br />
** From that point, all regular actions are available during falling are allowed.<br />
** When Alice lands on a jump pad, the jump pad will compress, then it will decompress and shoot Alice into air.<br />
** If Alice is shrunk as soon as soon as the jump pad is triggers she will return her to normal size.<br />
*** Controls<br />
**** There are essentially two ways to trigger a jump pad.<br />
**** Player does not have to jump onto the pad itself but instead if they walk into the jump pad radius surrounding the jump pad it will trigger. <br />
**** When the player enters the trigger radius of the jump pad, Alice will hop quickly on top of the jump pad, then play the launch animation.<br />
**** When approaching a jump pad Alice simply needs to jump (X) onto the pad and then she is automatically launched to the predetermined destination. <br />
**** In this case it will simply play the launch animation, as she has already mounted the pad.<br />
**** Because of this all jump pad meshes would be required to conform to a set height, and be placed consistently within the level.<br />
*** Usage<br />
**** Because jump pads are a simple mechanic, transporting Alice from point A to point B, with a little bit of air control, it is important to build in deeper reasons into why she would use them.<br />
**** Provides a quick means of moving Alice vertically – use this when a sudden shift in level height is required.<br />
**** As a means to quickly return to the point of origin, for example:<br />
***** Player falls into a deep pit and is trapped until a challenge is complete. Once the challenge is complete, a Jump-Pad appears to provide a quick way back up.<br />
***** Player falls from a platform challenge above into a pit below. A Jump-Pad provides a quick route back to the start of the challenge so the player can try again.<br />
**** Provides height from which to create an extended Floating challenge.<br />
**** When integrated into a platform challenge. Jump-Pads are more satisfying when used in groups of two or more.<br />
**** Jump-Pad position doesn’t need to be static. Try the following:<br />
***** Have the player use switches to reposition/activate Jump-Pads<br />
***** Attach the Jump-Pad to a Push/Pull object, allow the player to manually position before using it.<br />
*** Visuals and Animations:<br />
**** For each version of the jump pad mesh there should be three animations, an idle, a compressed animation for when Alice is on the jump pad, and a Jump Pad Launch (which syncs with Alice’s Launch animation properly).<br />
**** When in the air, after being launched by the jump pad, Alice should have a unique “flying through the air” animation, as the player has no air control, we should not use the regular jump animation during flight.<br />
**** There needs to be a clear direction showing the user where jump pads are shooting Alice to. Along with being clear as to the direction that Alice will be shot in when entering the jump pad from the opposite direction she will orient herself to the correct direction.<br />
**** Jump pads will be themed to the particular domain.<br />
<br /><br />
* SWIMMING<br />
** Within a tutorial, Alice is taught that there are two types of volumes underwater.<br />
*** Swimming Form Volume<br />
**** They're large<br />
**** Can swim at high speed. This is similar to an accelerator in that she will have a larger turning radius. From a stationary position she’ll turn to the input direction and then begin to swim.<br />
**** Can’t engage in normal combat.<br />
**** In order to box Alice in she will be bound in by regular blocking and for the top/ceiling she will be blocked in by an “invisible” radiation.<br />
**** Contain hazards to avoid using boost<br />
**** Contained in the swimming volumes are breakable walls hiding secret passages.<br />
**** Swimming volumes also contain smaller "islands" which can be explored using normal movement<br />
*** Walking Form Volumes<br />
**** Moves with the normal range of Wonderland actions.<br />
**** Full combat<br />
** Visuals<br />
*** Moving between Swimming Form and Walking Form will be accompanied by animation, gradual change in color, post-processing, particle effects and animations on her hair and dress.<br />
*** The transition between Swimming Form and Walking Form is via a transition volume of a large fish head. The process is like Alice ‘taking-off’ and ‘landing’.<br />
** Controls<br />
*** Swimming Form<br />
**** “X” to swim up<br />
**** “O” to dive down<br />
**** R1 Swim Boost<br />
**** R2 Attack<br />
**** Analog Stick – Movement<br />
**** L1 – Swim Fast<br />
*** Walking Form – While in the walking water volume controls are the same as when she is walking normally. The only difference is a change in animations she will have her normal movement set.<br />
<br />
[[Gameplay|'''<<<Back''']]</div>Martinhttps://www.americanmcgee.com/asylumwiki/index.php?title=Movement&diff=324Movement2018-08-21T06:13:36Z<p>Martin: </p>
<hr />
<div>Alice’s movements will be controlled with a Mario-3D like control system. The analog stick will control movement while buttons are used for jumping and combat.<br />
<br />
Alice’s movement through the world and interaction with characters is intended to be as fluid and intuitive as possible.<br /><br />
<br />
<br />
'''The Real World'''<br />
<br />
:: In London Alice’s movements show the struggles and limitations of a young woman trying to find out the truth. We see her stumble at times when she tries to find her balance. Alice’s moves are limited to physically realistic options like walking, running, jumping, etc.<br />
:: Depending on the scene Alice’s movement and animations will change. However this will not affect player input.<br />
:: For example during a short time frame after Alice is pulled out of the Thames she’ll shiver while she walks from being cold.<br /><br />
<br />
<br />
'''Wonderland'''<br />
<br />
:: By contrast in Wonderland Alice is in her element – her only limitations being with her imagination and her fears.<br />
:: She’s able to glide, jump, and land in a fantastically reasonable fashion.<br />
:: Several critical gated abilities will be in Wonderland which will allow Alice to overcome obstacles in a unique fashion: growing big, taking her head off to roll it like a ball, and deep water swimming.<br /><br />
<br />
<br />
* RUN SPEED<br />
** Alice will have a range of basic movement speeds (walk to run) that correspond to the analog range on the Left Analog Stick.<br />
<br /><br />
* JUMPING<br />
** Pressing "X" triggers a jump, the longer "X" is held, the higher the jump will be- up to the limit set for maximum jump height. <br />
** While jumping, the player will retain a limited degree of air control. In midair, momentum and trajectory can be adjusted with directional input via the Left Stick.<br />
** Initial aerial momentum of jump is determined by player movement speed at time of jump. The faster the player is moving the more initial forward momentum the jump will have.<br />
** Alice has two distinct movement speeds which will affect jump momentum: walking and running. When standing still, jumping will launch Alice directly upward.<br />
** When landing from a jump, Alice will immediately continue moving at the rate determined by player input without delay.<br />
<br /><br />
* DOUBLE JUMP<br />
** A double jump is used to extend the height and distance of a regular jump by performing a second jump in midair.<br />
** At any point between the launch and peak of the jump, the player can press "X" a second time to perform a double jump.<br />
** The second jump will have a different animation, but otherwise follows the same constraints as a normal jump, and can still be affected by player air control.<br />
<br /><br />
* FLOAT<br />
** Instead of the player being able to hold down the “X” button to maintain float until they have touched the ground there will be a deflation cycle over time. <br />
** The player must press and hold the “X” button again in order to begin the cycle again.<br />
** Each time the cycle repeats it becomes shorter so if the player mashes prematurely they’ll reduce the maximum achievable float distance.<br />
** Floating over a distance would be like a series of smaller curves within a continually declining float arc.<br />
** In order to maintain current level structure the maximum distance achievable should not exceed the current arc.<br />
** If the player enters the steam vent volume then the float cycle will reset itself.<br />
*** Controls<br />
**** In order to initiate float the player will press and hold the “X” button after the first initial jump. <br />
**** To maintain float for a longer distance they will simply press and hold the “X” button at the correct intervals.<br />
**** As it does now letting go of the “X” button will immediately cause Alice to fall at her normal falling rate.<br />
*** Visuals<br />
**** During each cycle of the float an animation, sound and particle will play. <br />
**** Particles and sound should help give an indication to the player as to when they should start their next float cycle.<br />
<br /><br />
* SLIDING<br />
** While in Wonderland Alice will also slide on particular surfaces where player will have some limited control over her movement.<br />
** Sliding within Wonderland will be triggered when Alice hits the trigger volume on specific surfaces. <br />
** Alice’s animations will blend from walking/running to a sliding animation when she hits the trigger volume.<br />
*** Movement while Sliding<br />
**** Alice can strafe left or right while sliding down while the animation will slow a slight turn.<br />
**** User will be able to slow or speed up Alice by pressing back or forward on the Left Analog Stick. <br />
**** Limits to slowest speed and fastest speed will be set; Alice will not continually speed up faster and faster infinitely.<br />
**** In order to maintain top speed Alice needs to stay within the central part of the slide. <br />
**** If Alice gets close to the edges of the slide she will lose speed.<br />
**** A half-pipe/bobsleigh type feel would provide more fun and feedback. <br />
**** The force of a turn should push Alice to the opposing side of the slide. The player must respond or risk falling being slowed.<br />
*** Camera<br />
**** Camera will follow the slide path.<br />
*** Notes<br />
**** Collectibles can be placed on the slide.<br />
**** Adding Timed slide challenges: beat the obstacle or the self-destructing slide.<br />
<br /><br />
* JUMP PADS<br />
** Jump pads will fling Alice upward very quickly. During ascent, the player will have very limited air control. <br />
** After reaching the peak of flight, Alice will begin to fall. <br />
** From that point, all regular actions are available during falling are allowed.<br />
** When Alice lands on a jump pad, the jump pad will compress, then it will decompress and shoot Alice into air.<br />
** If Alice is shrunk as soon as soon as the jump pad is triggers she will return her to normal size.<br />
*** Controls<br />
**** There are essentially two ways to trigger a jump pad.<br />
**** Player does not have to jump onto the pad itself but instead if they walk into the jump pad radius surrounding the jump pad it will trigger. <br />
**** When the player enters the trigger radius of the jump pad, Alice will hop quickly on top of the jump pad, then play the launch animation.<br />
**** When approaching a jump pad Alice simply needs to jump (X) onto the pad and then she is automatically launched to the predetermined destination. <br />
**** In this case it will simply play the launch animation, as she has already mounted the pad.<br />
**** Because of this all jump pad meshes would be required to conform to a set height, and be placed consistently within the level.<br />
*** Usage<br />
**** Because jump pads are a simple mechanic, transporting Alice from point A to point B, with a little bit of air control, it is important to build in deeper reasons into why she would use them.<br />
**** Provides a quick means of moving Alice vertically – use this when a sudden shift in level height is required.<br />
**** As a means to quickly return to the point of origin, for example:<br />
***** Player falls into a deep pit and is trapped until a challenge is complete. Once the challenge is complete, a Jump-Pad appears to provide a quick way back up.<br />
***** Player falls from a platform challenge above into a pit below. A Jump-Pad provides a quick route back to the start of the challenge so the player can try again.<br />
**** Provides height from which to create an extended Floating challenge.<br />
**** When integrated into a platform challenge. Jump-Pads are more satisfying when used in groups of two or more.<br />
**** Jump-Pad position doesn’t need to be static. Try the following:<br />
***** Have the player use switches to reposition/activate Jump-Pads<br />
***** Attach the Jump-Pad to a Push/Pull object, allow the player to manually position before using it.<br />
*** Visuals and Animations:<br />
**** For each version of the jump pad mesh there should be three animations, an idle, a compressed animation for when Alice is on the jump pad, and a Jump Pad Launch (which syncs with Alice’s Launch animation properly).<br />
**** When in the air, after being launched by the jump pad, Alice should have a unique “flying through the air” animation, as the player has no air control, we should not use the regular jump animation during flight.<br />
**** There needs to be a clear direction showing the user where jump pads are shooting Alice to. Along with being clear as to the direction that Alice will be shot in when entering the jump pad from the opposite direction she will orient herself to the correct direction.<br />
**** Jump pads will be themed to the particular domain.<br />
<br />
<br />
[[Gameplay|'''<<<Back''']]</div>Martinhttps://www.americanmcgee.com/asylumwiki/index.php?title=Movement&diff=323Movement2018-08-21T05:59:25Z<p>Martin: </p>
<hr />
<div>Alice’s movements will be controlled with a Mario-3D like control system. The analog stick will control movement while buttons are used for jumping and combat.<br />
<br />
Alice’s movement through the world and interaction with characters is intended to be as fluid and intuitive as possible.<br /><br />
<br />
<br />
'''The Real World'''<br />
<br />
:: In London Alice’s movements show the struggles and limitations of a young woman trying to find out the truth. We see her stumble at times when she tries to find her balance. Alice’s moves are limited to physically realistic options like walking, running, jumping, etc.<br />
:: Depending on the scene Alice’s movement and animations will change. However this will not affect player input.<br />
:: For example during a short time frame after Alice is pulled out of the Thames she’ll shiver while she walks from being cold.<br /><br />
<br />
<br />
'''Wonderland'''<br />
<br />
:: By contrast in Wonderland Alice is in her element – her only limitations being with her imagination and her fears.<br />
:: She’s able to glide, jump, and land in a fantastically reasonable fashion.<br />
:: Several critical gated abilities will be in Wonderland which will allow Alice to overcome obstacles in a unique fashion: growing big, taking her head off to roll it like a ball, and deep water swimming.<br /><br />
<br />
<br />
* RUN SPEED<br />
** Alice will have a range of basic movement speeds (walk to run) that correspond to the analog range on the Left Analog Stick.<br />
<br /><br />
* JUMPING<br />
** Pressing "X" triggers a jump, the longer "X" is held, the higher the jump will be- up to the limit set for maximum jump height. <br />
** While jumping, the player will retain a limited degree of air control. In midair, momentum and trajectory can be adjusted with directional input via the Left Stick.<br />
** Initial aerial momentum of jump is determined by player movement speed at time of jump. The faster the player is moving the more initial forward momentum the jump will have.<br />
** Alice has two distinct movement speeds which will affect jump momentum: walking and running. When standing still, jumping will launch Alice directly upward.<br />
** When landing from a jump, Alice will immediately continue moving at the rate determined by player input without delay.<br />
<br /><br />
* DOUBLE JUMP<br />
** A double jump is used to extend the height and distance of a regular jump by performing a second jump in midair.<br />
** At any point between the launch and peak of the jump, the player can press "X" a second time to perform a double jump.<br />
** The second jump will have a different animation, but otherwise follows the same constraints as a normal jump, and can still be affected by player air control.<br />
<br /><br />
* FLOAT<br />
** Instead of the player being able to hold down the “X” button to maintain float until they have touched the ground there will be a deflation cycle over time. <br />
** The player must press and hold the “X” button again in order to begin the cycle again.<br />
** Each time the cycle repeats it becomes shorter so if the player mashes prematurely they’ll reduce the maximum achievable float distance.<br />
** Floating over a distance would be like a series of smaller curves within a continually declining float arc.<br />
** In order to maintain current level structure the maximum distance achievable should not exceed the current arc.<br />
** If the player enters the steam vent volume then the float cycle will reset itself.<br />
*** Controls<br />
**** In order to initiate float the player will press and hold the “X” button after the first initial jump. <br />
**** To maintain float for a longer distance they will simply press and hold the “X” button at the correct intervals.<br />
**** As it does now letting go of the “X” button will immediately cause Alice to fall at her normal falling rate.<br />
*** Visuals<br />
**** During each cycle of the float an animation, sound and particle will play. <br />
**** Particles and sound should help give an indication to the player as to when they should start their next float cycle.<br />
<br /><br />
* SLIDING<br />
** While in Wonderland Alice will also slide on particular surfaces where player will have some limited control over her movement.<br />
** Sliding within Wonderland will be triggered when Alice hits the trigger volume on specific surfaces. <br />
** Alice’s animations will blend from walking/running to a sliding animation when she hits the trigger volume.<br />
*** Movement while Sliding<br />
**** Alice can strafe left or right while sliding down while the animation will slow a slight turn.<br />
**** User will be able to slow or speed up Alice by pressing back or forward on the Left Analog Stick. <br />
**** Limits to slowest speed and fastest speed will be set; Alice will not continually speed up faster and faster infinitely.<br />
**** In order to maintain top speed Alice needs to stay within the central part of the slide. <br />
**** If Alice gets close to the edges of the slide she will lose speed.<br />
**** A half-pipe/bobsleigh type feel would provide more fun and feedback. <br />
**** The force of a turn should push Alice to the opposing side of the slide. The player must respond or risk falling being slowed.<br />
*** Camera<br />
**** Camera will follow the slide path.<br />
*** Notes<br />
**** Collectibles can be placed on the slide.<br />
**** Adding Timed slide challenges: beat the obstacle or the self-destructing slide.<br />
<br /><br />
<br />
<br />
[[Gameplay|'''<<<Back''']]</div>Martinhttps://www.americanmcgee.com/asylumwiki/index.php?title=Movement&diff=302Movement2018-08-20T09:14:51Z<p>Martin: </p>
<hr />
<div>Alice’s movements will be controlled with a Mario-3D like control system. The analog stick will control movement while buttons are used for jumping and combat.<br />
<br />
Alice’s movement through the world and interaction with characters is intended to be as fluid and intuitive as possible.<br /><br />
<br />
<br />
'''The Real World'''<br />
<br />
:: In London Alice’s movements show the struggles and limitations of a young woman trying to find out the truth. We see her stumble at times when she tries to find her balance. Alice’s moves are limited to physically realistic options like walking, running, jumping, etc.<br />
:: Depending on the scene Alice’s movement and animations will change. However this will not affect player input.<br />
:: For example during a short time frame after Alice is pulled out of the Thames she’ll shiver while she walks from being cold.<br /><br />
<br />
<br />
'''Wonderland'''<br />
<br />
:: By contrast in Wonderland Alice is in her element – her only limitations being with her imagination and her fears.<br />
:: She’s able to glide, jump, and land in a fantastically reasonable fashion.<br />
:: Several critical gated abilities will be in Wonderland which will allow Alice to overcome obstacles in a unique fashion: growing big, taking her head off to roll it like a ball, and deep water swimming.<br /><br />
<br />
<br />
* RUN SPEED<br />
** Alice will have a range of basic movement speeds (walk to run) that correspond to the analog range on the Left Analog Stick.<br />
<br /><br />
* JUMPING<br />
** Pressing "X" triggers a jump, the longer "X" is held, the higher the jump will be- up to the limit set for maximum jump height. <br />
** While jumping, the player will retain a limited degree of air control. In midair, momentum and trajectory can be adjusted with directional input via the Left Stick.<br />
** Initial aerial momentum of jump is determined by player movement speed at time of jump. The faster the player is moving the more initial forward momentum the jump will have.<br />
** Alice has two distinct movement speeds which will affect jump momentum: walking and running. When standing still, jumping will launch Alice directly upward.<br />
** When landing from a jump, Alice will immediately continue moving at the rate determined by player input without delay.<br />
<br /><br />
* DOUBLE JUMP<br />
** A double jump is used to extend the height and distance of a regular jump by performing a second jump in midair.<br />
** At any point between the launch and peak of the jump, the player can press "X" a second time to perform a double jump.<br />
** The second jump will have a different animation, but otherwise follows the same constraints as a normal jump, and can still be affected by player air control.<br />
<br /><br />
* FLOAT<br />
** Instead of the player being able to hold down the “X” button to maintain float until they have touched the ground there will be a deflation cycle over time. <br />
** The player must press and hold the “X” button again in order to begin the cycle again.<br />
** Each time the cycle repeats it becomes shorter so if the player mashes prematurely they’ll reduce the maximum achievable float distance.<br />
** Floating over a distance would be like a series of smaller curves within a continually declining float arc.<br />
** In order to maintain current level structure the maximum distance achievable should not exceed the current arc.<br />
** If the player enters the steam vent volume then the float cycle will reset itself.<br />
*** Controls<br />
**** In order to initiate float the player will press and hold the “X” button after the first initial jump. <br />
**** To maintain float for a longer distance they will simply press and hold the “X” button at the correct intervals.<br />
**** As it does now letting go of the “X” button will immediately cause Alice to fall at her normal falling rate.<br />
*** Visuals<br />
**** During each cycle of the float an animation, sound and particle will play. <br />
**** Particles and sound should help give an indication to the player as to when they should start their next float cycle.<br />
<br /><br />
<br />
<br />
<br />
[[Gameplay|'''<<<Back''']]</div>Martinhttps://www.americanmcgee.com/asylumwiki/index.php?title=Movement&diff=301Movement2018-08-20T08:12:13Z<p>Martin: </p>
<hr />
<div>Alice’s movements will be controlled with a Mario-3D like control system. The analog stick will control movement while buttons are used for jumping and combat.<br />
<br />
Alice’s movement through the world and interaction with characters is intended to be as fluid and intuitive as possible.<br /><br />
<br />
<br />
'''The Real World'''<br />
<br />
:: In London Alice’s movements show the struggles and limitations of a young woman trying to find out the truth. We see her stumble at times when she tries to find her balance. Alice’s moves are limited to physically realistic options like walking, running, jumping, etc.<br />
:: Depending on the scene Alice’s movement and animations will change. However this will not affect player input.<br />
:: For example during a short time frame after Alice is pulled out of the Thames she’ll shiver while she walks from being cold.<br /><br />
<br />
<br />
'''Wonderland'''<br />
<br />
:: By contrast in Wonderland Alice is in her element – her only limitations being with her imagination and her fears.<br />
:: She’s able to glide, jump, and land in a fantastically reasonable fashion.<br />
:: Several critical gated abilities will be in Wonderland which will allow Alice to overcome obstacles in a unique fashion: growing big, taking her head off to roll it like a ball, and deep water swimming.<br /><br />
<br />
<br />
<br />
<br />
[[Gameplay|'''<<<Back''']]</div>Martinhttps://www.americanmcgee.com/asylumwiki/index.php?title=Movement&diff=300Movement2018-08-20T08:11:22Z<p>Martin: Created page with "Alice’s movements will be controlled with a Mario-3D like control system. The analog stick will control movement while buttons are used for jumping and combat. Alice’s mo..."</p>
<hr />
<div>Alice’s movements will be controlled with a Mario-3D like control system. The analog stick will control movement while buttons are used for jumping and combat.<br />
<br />
Alice’s movement through the world and interaction with characters is intended to be as fluid and intuitive as possible.<br /><br />
<br />
<br />
'''The Real World'''<br />
<br />
:: In London Alice’s movements show the struggles and limitations of a young woman trying to find out the truth. We see her stumble at times when she tries to find her balance. Alice’s moves are limited to physically realistic options like walking, running, jumping, etc.<br />
:: Depending on the scene Alice’s movement and animations will change. However this will not affect player input.<br />
:: For example during a short time frame after Alice is pulled out of the Thames she’ll shiver while she walks from being cold.<br /><br />
<br />
<br />
'''Wonderland'''<br />
<br />
:: By contrast in Wonderland Alice is in her element – her only limitations being with her imagination and her fears.<br />
:: She’s able to glide, jump, and land in a fantastically reasonable fashion.<br />
:: Several critical gated abilities will be in Wonderland which will allow Alice to overcome obstacles in a unique fashion: growing big, taking her head off to roll it like a ball, and deep water swimming.<br /></div>Martinhttps://www.americanmcgee.com/asylumwiki/index.php?title=Gameplay&diff=299Gameplay2018-08-20T08:02:28Z<p>Martin: </p>
<hr />
<div>*[[Chaos_Coins|'''Chaos Coins''']]<br />
*[[Tarot_Card|'''Tarot Cards''']]<br />
*[[Movement|'''Movement''']]<br />
<br />
<br />
[[Main Page|'''<<<Back''']]</div>Martinhttps://www.americanmcgee.com/asylumwiki/index.php?title=Live_Streams&diff=298Live Streams2018-08-20T03:46:31Z<p>Martin: </p>
<hr />
<div><br />
{| class="wikitable sortable"<br />
|-<br />
! Title<br />
! Date<br />
! Link<br />
! Description<br />
|-<br />
| (EU Edition) Alice's Slice & Dice Adventures - Asylum, Chaos, and AMA<br />
| August 17th, 2018<br />
| https://www.youtube.com/watch?v=JDkYUSk1oow<br />
| *** ! Special EU Timezone Broadcast ! *** American returns from Bangkok to rejoin Martin in the Underground Lair where they discuss developments on Alice: Asylum and talk about (IN DETAIL) how YOU can get your hands on The Chaos Coin. <br />
|-<br />
| Follow the White Rabbit - Into Asylum!<br />
| August 9th, 2018<br />
| https://www.youtube.com/watch?v=ysM-2wGsKWs<br />
| American and Martin once again tripping down the Rabbit Hole and straight into Wonderland! Today's adventure will include Alice: Asylum art review (TONS of new art), Out of the Woods update, Patreon Q&A, prizes, and LULU!<br />
|-<br />
| Cult of the White Rabbit - Alice Down the Chaos Hole<br />
| August 2nd, 2018<br />
| https://www.youtube.com/watch?v=MRiarwZbbPM<br />
| American and Martin's further exploration of Chaos in the World Down Under. We'll discuss the latest art, design, and story developments on Alice: Asylum. American will fall into holes, drown, incinerate, explode, and otherwise die. Repeatedly. Martin will Martin. And Lulu!<br />
|-<br />
| style="width:20%; | Alice: Asylum - Burning Down the House<br />
| style="width:150px; | July 19th, 2018<br />
| https://www.youtube.com/watch?v=W4vxD3xmDN8<br />
| style="width:50%; | American and Martin are back with another episode of "Man Falls in His Own Damn Hole" in which they discuss poorly designed holes, Alice: Asylum, Out of the Woods, fashion, stories, and the mystery of who burned down Alice's F'ing House. F!<br />
|-<br />
| Asylum: Dressed in Denial - Alice and The Alchemist's Tailor<br />
| July 13th, 2018<br />
| https://www.youtube.com/watch?v=KtkQC8L-HjM<br />
| American and Martin continue their quest through the lava fields and bottomless pits of "American McGee's Alice" while musing on the insanity of fashion - or fashion for the insane. Get it straight or you'll wear a jacket. Oh, and it's a Friday the 13th stream (at least where we are)! In this stream we'll continue to discuss Alice's new wardrobe of dresses and the progress being made on Asylum. Also updates on Out of the Woods and shipping things from China. Yay!<br />
|-<br />
| Alice: Asylum - The Guilt Dress and the Fashion Alchemist<br />
| July 5th, 2018<br />
| https://www.youtube.com/watch?v=vZsIEIjuT6Y<br />
| American and Martin are back with another batch of new art, design, and narrative from Alice: Asylum. We'll take a look at the new Guilt Dress and discuss a potential redesign of the original Blue Dress. We'll also respond to your Patron questions and comments while American flails, falls, and dies his way through "Alice" with Lulu by his side. Yay!<br />
|-<br />
| Alice: Asylum from the Underground Lair <br />
| June 28th, 2018<br />
| https://www.youtube.com/watch?v=f8C-kgRhkXg<br />
| American and Martin are back with the first ever broadcast from the underground lair. We'll continue our play through of "American McGee's Alice" while discussing the progress being made on the PPT for Alice: Asylum.<br />
|-<br />
| Alice: Asylum - Final Stream from the Old Ward <br />
| June 21st, 2018<br />
| https://www.youtube.com/watch?v=NjgXOYqsShg<br />
| American and Martin are back with a final stream from the old studio in the center of Shanghai. We'll review artwork from Joey, Alex, and Omri. A new version of the License PPT will be browsed. And we'll enjoy the soothing sounds of American falling repeatedly to his death in "American McGee's Much Falling Death Very Alice Game" - Yay! <br />
|-<br />
| Alice: Tweedles in the Asylum - Flee and RUN! <br />
| June 7th, 2018<br />
| https://www.youtube.com/watch?v=vWMcCQOEQfE<br />
| American and Martin are back for more of your favorite falling-dying adventure game "American McGee's Alice." We'll discuss progress on Alice: Asylum, watch American fall repeatedly to his death, talk about "Out of the Woods," and... prizes? Lulu? <br />
|-<br />
| Alice: Asylum Presentation Review (EU Edition)<br />
| May 30th, 2018<br />
| https://www.youtube.com/watch?v=Fyb0ZPtX0mo<br />
| American and Martin host a special EU time-zone live steam where the Alice: Asylum PPT in near-final format will be reviewed in real-time. We'll talk about the Asylum pitch, use of the license, overall goals for the Asylum enterprise, and more. This is your chance to provide feedback to the team and have your voice heard. <br />
|-<br />
| American McGee's "All Paths Lead to Death" Alice<br />
| May 25th, 2018<br />
| https://www.youtube.com/watch?v=Fyb0ZPtX0mo<br />
| American continues to stumble around, get lost, and die repeatedly in his own creation while Martin questions his ongoing association with someone who clearly CAN'T GAME. Meanwhile the two discuss progress on Alice: Asylum pre-production and Out of the Woods production. Lulu chews on a bone and pretends not to understand what's going on. Oh, and prizes. There will be prizes.<br />
|-<br />
| "American McGee's Falling, Drowning, Dying 2000" AKA "Alice"<br />
| May 15th, 2018<br />
| https://www.youtube.com/watch?v=g68f7QL6Nbk<br />
| American and Martin are back with more "American McGee's Alice" AKA "Falling, Drowning, Dying Simulator 2000" and updates on Alice: Asylum, Out of the Woods, and more.<br />
|-<br />
| Alice: Asylum - McGee Plays "Alice" in Hatter's Workshop<br />
| May 4th, 2018<br />
| https://www.youtube.com/watch?v=XGhKEMsWa-4<br />
| American and Martin are back with a new studio setup, Asylum news, and more of American falling and drowning his way through "American McGee's Alice" - don't miss out!<br />
|-<br />
| Alice: Asylum - The Shape of Chaos - American Plays Alice!<br />
| April 27th, 2018<br />
| https://www.youtube.com/watch?v=FFfARY032jk<br />
| American and Martin are back with more Alice: Asylum art and design updates. We'll talk about manufacturing progress on Out of the Woods, ideas for expanding Pirate Jam into something more... meaty. And our evolving thoughts on the Chaos Coins (in-game and real). All the while American will continue his journey through "American McGee's Alice."<br />
|-<br />
| Alice: Paradise Returns - Asylum from the Pirates!<br />
| April 20th, 2018<br />
| https://www.youtube.com/watch?v=Ne8HRtnPmSY<br />
| Back from Pirate Jam with a tan and a smile, American brings you the latest on Asylum, Out of the Woods, and the world's sunniest game jam. <br />
<br />
Martin and Lulu are also along with a ho ho ho and a bottle of rum. We'll go through Patron comments and discuss design and presentation of the Alice: Asylum pitch to EA. <br />
<br />
We'll also continue to float and stab our way through Wonderland in "American McGee's Alice" - yay!<br />
|-<br />
| Let's Play "American McGee's Alice" with American McGee!!!<br />
| March 22th, 2018<br />
| https://www.youtube.com/watch?v=nZS-q_sxMM8<br />
| American and Martin are back with the one you've been waiting for: the first M-rated game ever published by EA, the game that out-gothed them all, the baddest of bad-ass heroines... American McGee's ALICE!<br />
<br />
Join us as American jumps, floats, stabs, and shrinks his way through the one that started it all. Along the way we'll discuss development of the original game, progress on "Alice: Asylum," and all the usual - Out of the Woods, Pirate Jam, and your Patreon comments.<br />
|-<br />
| Alice: Asylum - Inmates take over the Madhouse<br />
| March 15th, 2018<br />
| https://www.youtube.com/watch?v=KAdwoLPUYGE<br />
| American and Martin are back with details about Alice: Asylum, Out of the Woods, Pirate Jam, and more! We'll discuss the latest concept illustrations from Joey and have a look at Alex's Inmate Certificates for Patrons. There's also a collection of really cool embroidery patches done by Jennifer D'aww and which will be given out as Patreon rewards when we hit 1000 Patrons!<br />
|-<br />
| Alice's Inmate Update from the Asylum<br />
| March 8th, 2018<br />
| https://www.youtube.com/watch?v=blPItgutEeE<br />
| American and Martin are back (finally!) with a massive update on all things Alice: Asylum, Pirate Jam, and Out of the Woods. American took off for a month of sailing around the Andaman Sea - but he's back with a tan and a whole bunch of news! Oh, and Lulu too!<br />
|-<br />
| Save Yourself, Alice! Asylum in the Woods with Pirates!<br />
| January 26th, 2018<br />
| https://www.youtube.com/watch?v=BEV38f6-dj0<br />
| American and Martin have lots to catch up on... we'll talk about latest art and design for Alice: Asylum, read your feedback on the Asylum license presentation; take a look at physical mock-ups and final card art for Out of the Woods; and review the latest planning and product design for Pirate Jam. Woo!<br />
|-<br />
| Alice: Asylum - Pitch Review - Emily Browning as Alice?! India Eisley too!?!?! Madness!<br />
| January 19th, 2018<br />
| https://www.youtube.com/watch?v=Rz6-bhkrgzM<br />
| American and Martin will step through the bare-bones Alice: Asylum presentation while taking your feedback and suggestions. We'll also discuss the merits of Emily vs. India vs. Angela as Alice. Martin will fondle with his furry box for all to see (gross, Martin). And we'll talk about how YOU can get hands on an official, autographed, and numbered Inmate Certificate. Woooo!<br />
|-<br />
| Alice: Madness Returns BETA DEMO Insanity in the Alice 3 Asylum<br />
| January 12th, 2018<br />
| https://www.youtube.com/watch?v=O5usNGJ-e1E<br />
| American and Martin discuss the latest progress on Alice: Asylum, Out of the Woods, Pirate Jam, and... talk about the mysterious Alice: Madness Returns BETA DEMO (ohoooohhhooooo! ***mysterious!***). <br />
<br />
We'll also talk about the Alice feature film and fan feedback on who should play Alice.<br />
|-<br />
| Alice 3 - Asylum for Angelababy?<br />
| January 5th, 2018<br />
| https://www.youtube.com/watch?v=m2SjS2aBAOE<br />
| American and Martin discuss all the latest with pre-production on Alice: Asylum, planning for Pirate Jam 2018, manufacturing of Out of the Woods, and more. Expect prizes, Lulu, Mysterious things, and madness.<br />
|-<br />
| Hellblade: Senua's Sacrifice - Alice: Asylum Research Lab - Mysterious Chaos and MORE!<br />
| December 14th, 2017<br />
| https://www.youtube.com/watch?v=V8YtFlpbt3g<br />
| American, Martin, and Lulu continue discussions around Alice: Asylum. We'll take a look at Hellblade: Senua's Sacrifice for fun and inspiration. Also expect updates on the Chaos stuff at Mysterious, preparation for Pirate Jam 2018, and the latest on Out of the Woods. Woo!<br />
|-<br />
| Chaos Labs - Killing Bumby, Alice: Asylum, Mysterious Things, and we're Almost OUT OF THE WOODS!<br />
| December 5th, 2017<br />
| https://www.youtube.com/watch?v=tFOUODjNomI<br />
| American and Martin finally KILL Dr. Bumby once and for all. They also discuss the latest pre-production progress on Alice: Asylum, answer questions from Patrons, update you on new additions to the Mysterious Shop, and take a look at the Out of the Woods production notes.<br />
|-<br />
| Alice: Meow & Woof - Asylum Pre-Production, Madness Returns Returns, Out of the Woods, and PRIZES!<br />
| November 14th, 2017<br />
| https://www.youtube.com/watch?v=MTnzQ211aXY<br />
| Another day another live stream from lovely Shanghai, China. American and Martin bypass the Great Firewall to bring you the latest on Alice: Asylum, Out of the Woods, and Pirate Jam. Patron comments will be addressed and prizes will fly. Don't be late!<br />
|-<br />
| Alice: Mad Hatterness Returns - Asylum Progress - Out of the Woods Update - And PIRATES, ARG!<br />
| November 8th, 2017<br />
| https://www.youtube.com/watch?v=5d72RlWBiDM<br />
| American and Martin use a NEW CONTROLLER to continue their maddening progress through Alice: Madness Returns while talking about Alice: Asylum, celebrating about ALL THE ART being done for Out of the Woods, and getting arg'y about Pirate Jam 2018. We'll also give away skull bracelets and a mystery prize!<br />
|-<br />
| Alice: Asylum & Madness + Out of the Woods + Pickles<br />
| November 2nd, 2017<br />
| https://www.youtube.com/watch?v=jOINc634dzQ<br />
| American and Martin are back after American's trip to the US. We have lots of updates across "Out of the Woods" and "Alice: Asylum." During this live stream we'll discuss Patreon comments about "Asylum" and Kickstarter comments about "Out of the Woods." We'll also give away prizes - skull bracelets and even a Vorpal Umbrella!<br />
|-<br />
| Alice Wood Asylum?! - The Madness : Playing A:MR; Talking OOTW and Asylum<br />
| October 19th, 2017<br />
| https://www.youtube.com/watch?v=4TT7wDABqOk<br />
| Wood Alice Asylum?! How many Asylum's Wood Alice <br />
<br />
American and Martin are back with a tremendous amount of updates across "Out of the Woods" and "Alice: Asylum." During this live stream we'll discuss Patreon comments about "Asylum" and Kickstarter comments about "Out of the Woods." We'll also give away prizes - skull bracelets and even a Vorpal Umbrella!<br />
|-<br />
| Alice: Asylum Q&A and Patreon Comments<br />
| October 9th, 2017<br />
| https://www.youtube.com/watch?v=jknH8WjrWFM<br />
| American and Martin respond to questions and comments posted across YouTube, Facebook, and Patreon. We'll talk about design and art for Alice: Asylum while checking out new art and ideas.<br />
|-<br />
| Alice Madness in the Asylum - The face of young Alice + The littlest Cheshire Cat<br />
| October 3rd, 2017<br />
| https://www.youtube.com/watch?v=bgTprNAO4Ho<br />
| American McGee and Martin (he who has no last name) continue their adventures through Alice: Madness Returns. We'll talk about design and production of that game, look at progress on "Out of the Woods" and check out... the new face of Alice from "Alice: Asylum."<br />
|-<br />
| Alice: Madness Continues - The Reveal of Young Alice's Face!<br />
| September 27th, 2017<br />
| https://www.youtube.com/watch?v=r2PZR1flqH4<br />
| American McGee continues to battle his way through Madness Returns while he and Martin discuss that game's design, progress on "Out of the Woods," AND... we take a look at early concept artwork from "Alice: Asylum!"<br />
|-<br />
| Alice: Streaming Returns - "Alice 3" Discussion Redux<br />
| September 14th, 2017<br />
| https://www.youtube.com/watch?v=56CcomzPPug<br />
| American and Martin are back with improved streaming throughput! We'll pick up where yesterday's painful stream died. Let's talk Alice 3 progress and answer your questions. Yay!<br />
|-<br />
| Alice: McGee Returns<br />
| September 6th, 2017<br />
| https://www.youtube.com/watch?v=mohsoD6yROo<br />
| American McGee faces off against his mortal enemy - "Alice: Madness Returns." During this live stream we'll review progress on "Out of the Woods," talk about Alice 3, and... try to figure out why half of NeoGAF thinks American's a nazi?<br />
|}<br />
<br />
[[Main Page|'''<<<Back''']]</div>Martinhttps://www.americanmcgee.com/asylumwiki/index.php?title=FAQ&diff=171FAQ2018-07-24T01:20:25Z<p>Martin: /* How To Help */</p>
<hr />
<div><br />
== Alice: Asylum ==<br />
=== General ===<br />
<br />
Game is set before America McGee's Alice<br />
<br />
Bumby not in game<br />
<br />
Red Queen & Queen of Heart<br />
<br />
=== Concerns Often Brought Up ===<br />
<br />
EA<br />
<br />
Loot Boxes<br />
<br />
DLC<br />
<br />
<br />
== How To Help ==<br />
1. [http://www.americanmcgee.com/ Sign the mailing list!]<br />
<br />
2. Follow American on Social Media! ([https://www.youtube.com/user/obnard YouTube] [https://www.instagram.com/americanmcgee/ Instagram] [https://twitter.com/americanmcgee Twitter])<br />
<br />
3. Support “Asylum” Pre-Production via [https://www.patreon.com/americanmcgee Patreon!]<br />
<br />
4. Purchase American’s official merchandise at his [https://mysterious.americanmcgee.com/ online shop!]<br />
<br />
5. Spread the news to all your Alice loving chums.<br />
<br />
== American McGee ==</div>Martinhttps://www.americanmcgee.com/asylumwiki/index.php?title=FAQ&diff=170FAQ2018-07-24T01:18:38Z<p>Martin: /* How To Help */</p>
<hr />
<div><br />
== Alice: Asylum ==<br />
=== General ===<br />
<br />
Game is set before America McGee's Alice<br />
<br />
Bumby not in game<br />
<br />
Red Queen & Queen of Heart<br />
<br />
=== Concerns Often Brought Up ===<br />
<br />
EA<br />
<br />
Loot Boxes<br />
<br />
DLC<br />
<br />
<br />
== How To Help ==<br />
1. [http://www.americanmcgee.com/ Sign the mailing list!]<br />
<br />
2. Follow American on Social Media! ([https://www.youtube.com/user/obnard YouTube] [https://www.instagram.com/americanmcgee/ Instagram] [https://twitter.com/americanmcgee Twitter])<br />
<br />
3. Support “Asylum” Pre-Production via [https://www.patreon.com/americanmcgee Patreon!]<br />
<br />
4. Purchase American’s official merchandise at his [https://mysterious.americanmcgee.com/ online shop!]<br />
<br />
== American McGee ==</div>Martinhttps://www.americanmcgee.com/asylumwiki/index.php?title=Difficulty&diff=146Difficulty2018-07-18T08:22:26Z<p>Martin: </p>
<hr />
<div>Alice Asylum will have selectable difficulty settings, but we will balance the normal setting to what is listed<br />
below.<br />
<br />
:: '''Goals'''<br />
* Limited frustration for Player<br />
* Impossible to fail at completing the game<br />
* Challenge reward for broad range of Player core-types<br />
<br /><br />
:: '''Fails'''<br />
* Perceived as too EASY or too HARD<br />
* Perceived as too heavy handed (too much hand-holding)<br />
* Perceived as too oblique (not enough hand-holding)<br />
<br /><br />
:: '''Audience Assumptions'''<br />
* Gender: 50/50 male-female<br />
* Attraction: Wonderland, Alice, art, story, sequel, exploration, puzzles, combat<br />
* NOT: Us (the developers)<br />
<br /><br />
:: '''Design Assumptions'''<br />
* Gameplay is EASY<br />
* Achievements are HARD<br />
* Secrets are MEDIUM-HARD<br />
* Alternate paths are MEDIUM-HARD<br />
<br /><br />
:: '''Risk Areas'''<br />
:::: ''<u>Puzzles</u>''<br />
Challenge: Player is unable to progress because Puzzle cannot be solved.<br /><br />
Solutions for Minimizing Risk<br />
* Design<br />
** Keep Puzzles Simple<br />
** Progressive difficulty within puzzles types to train User<br />
** Make the Goal Obvious<br />
** Present in “puzzle box” format. One way in, one way out.<br />
* Testing/Tuning<br />
* Progressive Help Dialog from Cheshire Cat<br />
<br />
:::: ''<u>Combat</u>''<br />
Challenge: Player is unable to overcome enemy NPCs and cannot progress.<br /><br />
Solutions for Minimizing Risk<br />
* Design of Combat situations (balancing)<br />
* Design of Combat controls (ease of use, intuitive)<br />
* Testing/Tuning<br />
* Cat Nip – Cheshire Cat clears combat areas<br />
<br />
:::: ''<u>Exploration</u>''<br />
Challenge: Player is lost, unable to find next goal, cannot progress.<br /><br />
Solutions for Minimizing Risk<br />
* State Goals clearly (update always, display clearly, repeat on-screen/diary)<br />
* Offer constant guide to primary objective<br />
* Panning camera towards correct direction, in-level highlighting (POI)<br />
* Cheshire Cat hints, guidance<br />
<br />
:::: ''<u>Platform Action</u>''<br />
Challenge: Player is physically unable to complete sequence of platform gameplay.<br /><br />
Solutions for Minimizing Risk<br />
* Design<br />
* Testing/Tuning<br />
* Cat Nip – Cheshire Cat shows user how to platform past a particular section<br />
<br />
=== CHESHIRE CAT SYSTEM ===<br />
The Cheshire Cat plays a critical role in providing help when requested. Help varies based on the situation in which it is activated. AT ALL TIMES when Player summons Cheshire Cat, the current Primary Objective will refresh onscreen.<br /><br />
Context dependent responses include:<br />
* Puzzles<br />
** Request 1: oblique suggestion for solution (non helpful, entertaining)<br />
** Request 2: direct suggestion for solution (helpful, but Player still has to think)<br />
** Request 3: step-by-step solution (complete solution, Player doesn’t think)<br />
* Combat<br />
** Request 1: oblique critique of combat style (non helpful, entertaining)<br />
** Request 2: direct suggestion for improvement (helpful, but Player still has to fight)<br />
** Request 3: delivery of help item (Cat Nip) (semi-complete solution, assisted fight)<br />
* Exploration<br />
** Request 1: oblique suggestion re: current narrative (non helpful, entertaining)<br />
** Request 2: direct suggestion to review objective (helpful, but indirect)<br />
** Request 3: physically turns camera towards correct direction, animates “this way” (direct)<br />
* Platform<br />
** Request 1: oblique suggestion (non helpful, entertaining)<br />
** Request 2: direct suggestion for improvement (helpful, but indirect)<br />
** Request 3: delivery of help item (Cat Nip) (semi-complete, guided platforming)<br />
<br />
After a few seconds if the player doesn't press the help again, the cat disappears. If the user presses help again it will play the second hint, if he presses again, then it will play the 3rd hint.<br />
<br />
Cheshire Cat cannot be called during:<br />
* While Alice is locked on engaging in combat<br />
* When Alice is jumping or falling<br />
* Cinematic Mode is ON<br />
* Alice is dead<br />
<br />
If there are no specific hints for the Cheshire Cat to give for a specific place the current primary objective will be displayed on-screen and at random times he will offer up irrelevant information through audio.<br />
<br />
:: '''Visual'''<br />
During parts of the game; at puzzles, larger combat areas, vistas, the Cheshire Cat will appear at spawn points and offer up his hints. He will turn to face Alice depending on when she calls him and where the spawn point is. For the Cheshire Cat to appear Alice must be still/idle.<br />
<br />
When the Cheshire Cat appears user can press the lock-on mode for PoI so that the camera focuses on him. While Alice is platforming/moving through an area the Cheshire Cat will not appear, instead he will offer up his hint simply through VO and the primary objective will be displayed within the HUD.<br />
<br />
:: '''Controls'''<br />
When the Player presses the '''Cheshire Cat Button''' while Idle, the Cheshire Cat will appear to the nearest spawn point and will play the first hint.<br />
<br />
If the player presses the '''Cheshire Cat Button''' again the Cheshire Cat will play the next hint. After playing through every hint the Cheshire Cat will then play the final “ultimate” hint.<br />
<br />
While the Cheshire Cat is giving his hint Player can press the '''relevant trigger''' to activate lock-on mode for a PoI.<br />
<br />
If the Player is platforming/moving through the level, the '''Cheshire Cat Button''' will still give them a hint but the Cheshire Cat will not appear.<br />
<br />
[[Main Page|'''<<<Back''']]</div>Martinhttps://www.americanmcgee.com/asylumwiki/index.php?title=Difficulty&diff=145Difficulty2018-07-18T08:17:37Z<p>Martin: </p>
<hr />
<div>Alice Asylum will have selectable difficulty settings, but we will balance the normal setting to what is listed<br />
below.<br />
<br />
:: '''Goals'''<br />
* Limited frustration for Player<br />
* Impossible to fail at completing the game<br />
* Challenge reward for broad range of Player core-types<br />
<br /><br />
:: '''Fails'''<br />
* Perceived as too EASY or too HARD<br />
* Perceived as too heavy handed (too much hand-holding)<br />
* Perceived as too oblique (not enough hand-holding)<br />
<br /><br />
:: '''Audience Assumptions'''<br />
* Gender: 50/50 male-female<br />
* Attraction: Wonderland, Alice, art, story, sequel, exploration, puzzles, combat<br />
* NOT: Us (the developers)<br />
<br /><br />
:: '''Design Assumptions'''<br />
* Gameplay is EASY<br />
* Achievements are HARD<br />
* Secrets are MEDIUM-HARD<br />
* Alternate paths are MEDIUM-HARD<br />
<br /><br />
:: '''Risk Areas'''<br />
:::: ''<u>Puzzles</u>''<br />
Challenge: Player is unable to progress because Puzzle cannot be solved.<br /><br />
Solutions for Minimizing Risk<br />
* Design<br />
** Keep Puzzles Simple<br />
** Progressive difficulty within puzzles types to train User<br />
** Make the Goal Obvious<br />
** Present in “puzzle box” format. One way in, one way out.<br />
* Testing/Tuning<br />
* Progressive Help Dialog from Cheshire Cat<br />
<br />
:::: ''<u>Combat</u>''<br />
Challenge: Player is unable to overcome enemy NPCs and cannot progress.<br /><br />
Solutions for Minimizing Risk<br />
* Design of Combat situations (balancing)<br />
* Design of Combat controls (ease of use, intuitive)<br />
* Testing/Tuning<br />
* Cat Nip – Cheshire Cat clears combat areas<br />
<br />
:::: ''<u>Exploration</u>''<br />
Challenge: Player is lost, unable to find next goal, cannot progress.<br /><br />
Solutions for Minimizing Risk<br />
* State Goals clearly (update always, display clearly, repeat on-screen/diary)<br />
* Offer constant guide to primary objective<br />
* Panning camera towards correct direction, in-level highlighting (POI)<br />
* Cheshire Cat hints, guidance<br />
<br />
:::: ''<u>Platform Action</u>''<br />
Challenge: Player is physically unable to complete sequence of platform gameplay.<br /><br />
Solutions for Minimizing Risk<br />
* Design<br />
* Testing/Tuning<br />
* Cat Nip – Cheshire Cat shows user how to platform past a particular section<br />
<br />
=== CHESHIRE CAT SYSTEM ===<br />
The Cheshire Cat plays a critical role in providing help when requested. Help varies based on the situation in which it is activated. AT ALL TIMES when Player summons Cheshire Cat, the current Primary Objective will refresh onscreen.<br /><br />
Context dependent responses include:<br />
* Puzzles<br />
** Request 1: oblique suggestion for solution (non helpful, entertaining)<br />
** Request 2: direct suggestion for solution (helpful, but Player still has to think)<br />
** Request 3: step-by-step solution (complete solution, Player doesn’t think)<br />
* Combat<br />
** Request 1: oblique critique of combat style (non helpful, entertaining)<br />
** Request 2: direct suggestion for improvement (helpful, but Player still has to fight)<br />
** Request 3: delivery of help item (Cat Nip) (semi-complete solution, assisted fight)<br />
* Exploration<br />
** Request 1: oblique suggestion re: current narrative (non helpful, entertaining)<br />
** Request 2: direct suggestion to review objective (helpful, but indirect)<br />
** Request 3: physically turns camera towards correct direction, animates “this way” (direct)<br />
* Platform<br />
** Request 1: oblique suggestion (non helpful, entertaining)<br />
** Request 2: direct suggestion for improvement (helpful, but indirect)<br />
** Request 3: delivery of help item (Cat Nip) (semi-complete, guided platforming)<br />
<br />
After a few seconds if the player doesn't press the help again, the cat disappears. If the user presses help again it will play the second hint, if he presses again, then it will play the 3rd hint.</div>Martinhttps://www.americanmcgee.com/asylumwiki/index.php?title=Difficulty&diff=144Difficulty2018-07-18T07:15:35Z<p>Martin: </p>
<hr />
<div>Alice Asylum will have selectable difficulty settings, but we will balance the normal setting to what is listed<br />
below.<br />
<br />
:: '''Goals'''<br />
* Limited frustration for Player<br />
* Impossible to fail at completing the game<br />
* Challenge reward for broad range of Player core-types<br />
<br /><br />
:: '''Fails'''<br />
* Perceived as too EASY or too HARD<br />
* Perceived as too heavy handed (too much hand-holding)<br />
* Perceived as too oblique (not enough hand-holding)<br />
<br /><br />
:: '''Audience Assumptions'''<br />
* Gender: 50/50 male-female<br />
* Attraction: Wonderland, Alice, art, story, sequel, exploration, puzzles, combat<br />
* NOT: Us (the developers)<br />
<br /><br />
:: '''Design Assumptions'''<br />
* Gameplay is EASY<br />
* Achievements are HARD<br />
* Secrets are MEDIUM-HARD<br />
* Alternate paths are MEDIUM-HARD<br />
<br /><br />
:: '''Risk Areas'''<br />
:::: ''<u>Puzzles</u>''<br />
Challenge: Player is unable to progress because Puzzle cannot be solved.<br /><br />
Solutions for Minimizing Risk<br />
* Design<br />
** Keep Puzzles Simple<br />
** Progressive difficulty within puzzles types to train User<br />
** Make the Goal Obvious<br />
** Present in “puzzle box” format. One way in, one way out.<br />
* Testing/Tuning<br />
* Progressive Help Dialog from Cheshire Cat<br />
<br />
:::: ''<u>Combat</u>''<br />
Challenge: Player is unable to overcome enemy NPCs and cannot progress.<br /><br />
Solutions for Minimizing Risk<br />
* Design of Combat situations (balancing)<br />
* Design of Combat controls (ease of use, intuitive)<br />
* Testing/Tuning<br />
* Cat Nip – Cheshire Cat clears combat areas<br />
<br />
:::: ''<u>Exploration</u>''<br />
Challenge: Player is lost, unable to find next goal, cannot progress.<br /><br />
Solutions for Minimizing Risk<br />
* State Goals clearly (update always, display clearly, repeat on-screen/diary)<br />
* Offer constant guide to primary objective<br />
* Panning camera towards correct direction, in-level highlighting (POI)<br />
* Cheshire Cat hints, guidance<br />
<br />
:::: ''<u>Platform Action</u>''<br />
Challenge: Player is physically unable to complete sequence of platform gameplay.<br /><br />
Solutions for Minimizing Risk<br />
* Design<br />
* Testing/Tuning<br />
* Cat Nip – Cheshire Cat shows user how to platform past a particular section</div>Martinhttps://www.americanmcgee.com/asylumwiki/index.php?title=Difficulty&diff=143Difficulty2018-07-18T07:10:39Z<p>Martin: </p>
<hr />
<div>Alice Asylum will have selectable difficulty settings, but we will balance the normal setting to what is listed<br />
below.<br />
<br />
:: '''Goals'''<br />
* Limited frustration for Player<br />
* Impossible to fail at completing the game<br />
* Challenge reward for broad range of Player core-types<br />
<br /><br />
:: '''Fails'''<br />
* Perceived as too EASY or too HARD<br />
* Perceived as too heavy handed (too much hand-holding)<br />
* Perceived as too oblique (not enough hand-holding)<br />
<br /><br />
:: '''Audience Assumptions'''<br />
* Gender: 50/50 male-female<br />
* Attraction: Wonderland, Alice, art, story, sequel, exploration, puzzles, combat<br />
* NOT: Us (the developers)<br />
<br /><br />
:: '''Design Assumptions'''<br />
* Gameplay is EASY<br />
* Achievements are HARD<br />
* Secrets are MEDIUM-HARD<br />
* Alternate paths are MEDIUM-HARD<br />
<br /><br />
:: '''Risk Areas'''<br />
:::: ''<u>Puzzles</u>''<br />
Challenge: Player is unable to progress because Puzzle cannot be solved.<br /><br />
Solutions for Minimizing Risk<br />
* Design<br />
** Keep Puzzles Simple<br />
** Progressive difficulty within puzzles types to train User<br />
** Make the Goal Obvious<br />
** Present in “puzzle box” format. One way in, one way out.<br />
* Testing/Tuning<br />
* Progressive Help Dialog from Cheshire Cat<br />
<br />
:::: ''<u>Combat</u>''<br />
Challenge: Player is unable to overcome enemy NPCs and cannot progress.<br /><br />
Solutions for Minimizing Risk<br />
* Design of Combat situations (balancing)<br />
* Design of Combat controls (ease of use, intuitive)<br />
* Testing/Tuning<br />
* Cat Nip – Cheshire Cat clears combat areas</div>Martinhttps://www.americanmcgee.com/asylumwiki/index.php?title=Difficulty&diff=142Difficulty2018-07-18T07:09:10Z<p>Martin: </p>
<hr />
<div>Alice Asylum will have selectable difficulty settings, but we will balance the normal setting to what is listed<br />
below.<br />
<br />
:: '''Goals'''<br />
* Limited frustration for Player<br />
* Impossible to fail at completing the game<br />
* Challenge reward for broad range of Player core-types<br />
<br /><br />
:: '''Fails'''<br />
* Perceived as too EASY or too HARD<br />
* Perceived as too heavy handed (too much hand-holding)<br />
* Perceived as too oblique (not enough hand-holding)<br />
<br /><br />
:: '''Audience Assumptions'''<br />
* Gender: 50/50 male-female<br />
* Attraction: Wonderland, Alice, art, story, sequel, exploration, puzzles, combat<br />
* NOT: Us (the developers)<br />
<br /><br />
:: '''Design Assumptions'''<br />
* Gameplay is EASY<br />
* Achievements are HARD<br />
* Secrets are MEDIUM-HARD<br />
* Alternate paths are MEDIUM-HARD<br />
<br /><br />
:: '''Risk Areas'''<br />
:::: ''Puzzles''<br />
Challenge: Player is unable to progress because Puzzle cannot be solved.<br /><br />
Solutions for Minimizing Risk<br />
* Design<br />
** Keep Puzzles Simple<br />
** Progressive difficulty within puzzles types to train User<br />
** Make the Goal Obvious<br />
** Present in “puzzle box” format. One way in, one way out.<br />
* Testing/Tuning<br />
* Progressive Help Dialog from Cheshire Cat<br />
<br />
:::: ''Combat''</div>Martinhttps://www.americanmcgee.com/asylumwiki/index.php?title=Difficulty&diff=141Difficulty2018-07-18T07:05:54Z<p>Martin: Created page with "Alice Asylum will have selectable difficulty settings, but we will balance the normal setting to what is listed below. :: '''Goals''' * Limited frustration for Player * Impos..."</p>
<hr />
<div>Alice Asylum will have selectable difficulty settings, but we will balance the normal setting to what is listed<br />
below.<br />
<br />
:: '''Goals'''<br />
* Limited frustration for Player<br />
* Impossible to fail at completing the game<br />
* Challenge reward for broad range of Player core-types<br />
<br /><br />
:: '''Fails'''<br />
* Perceived as too EASY or too HARD<br />
* Perceived as too heavy handed (too much hand-holding)<br />
* Perceived as too oblique (not enough hand-holding)<br />
<br /><br />
:: '''Audience Assumptions'''<br />
* Gender: 50/50 male-female<br />
* Attraction: Wonderland, Alice, art, story, sequel, exploration, puzzles, combat<br />
* NOT: Us (the developers)<br />
<br /></div>Martinhttps://www.americanmcgee.com/asylumwiki/index.php?title=Live_Streams&diff=140Live Streams2018-07-18T04:03:49Z<p>Martin: </p>
<hr />
<div><br />
{| class="wikitable sortable"<br />
|-<br />
! Title<br />
! Date<br />
! Link<br />
! Description<br />
|-<br />
| Alice: Asylum - Burning Down the House<br />
| July 19th, 2018<br />
| https://www.youtube.com/watch?v=W4vxD3xmDN8<br />
| American and Martin are back with another episode of "Man Falls in His Own Damn Hole" in which they discuss poorly designed holes, Alice: Asylum, Out of the Woods, fashion, stories, and the mystery of who burned down Alice's F'ing House. F!<br />
|-<br />
| Asylum: Dressed in Denial - Alice and The Alchemist's Tailor<br />
| July 13, 2018<br />
| https://www.youtube.com/watch?v=KtkQC8L-HjM<br />
| American and Martin continue their quest through the lava fields and bottomless pits of "American McGee's Alice" while musing on the insanity of fashion - or fashion for the insane. Get it straight or you'll wear a jacket. Oh, and it's a Friday the 13th stream (at least where we are)! In this stream we'll continue to discuss Alice's new wardrobe of dresses and the progress being made on Asylum. Also updates on Out of the Woods and shipping things from China. Yay!<br />
|-<br />
| Alice: Asylum - The Guilt Dress and the Fashion Alchemist<br />
| July 5, 2018<br />
| https://www.youtube.com/watch?v=vZsIEIjuT6Y<br />
| American and Martin are back with another batch of new art, design, and narrative from Alice: Asylum. We'll take a look at the new Guilt Dress and discuss a potential redesign of the original Blue Dress. We'll also respond to your Patron questions and comments while American flails, falls, and dies his way through "Alice" with Lulu by his side. Yay!<br />
|-<br />
| Alice: Asylum from the Underground Lair <br />
| June 28, 2018<br />
| https://www.youtube.com/watch?v=f8C-kgRhkXg<br />
| American and Martin are back with the first ever broadcast from the underground lair. We'll continue our play through of "American McGee's Alice" while discussing the progress being made on the PPT for Alice: Asylum.<br />
|-<br />
| Alice: Asylum - Final Stream from the Old Ward <br />
| June 21, 2018<br />
| https://www.youtube.com/watch?v=NjgXOYqsShg<br />
| American and Martin are back with a final stream from the old studio in the center of Shanghai. We'll review artwork from Joey, Alex, and Omri. A new version of the License PPT will be browsed. And we'll enjoy the soothing sounds of American falling repeatedly to his death in "American McGee's Much Falling Death Very Alice Game" - Yay! <br />
|-<br />
| Alice: Tweedles in the Asylum - Flee and RUN! <br />
| June 7, 2018<br />
| https://www.youtube.com/watch?v=vWMcCQOEQfE<br />
| American and Martin are back for more of your favorite falling-dying adventure game "American McGee's Alice." We'll discuss progress on Alice: Asylum, watch American fall repeatedly to his death, talk about "Out of the Woods," and... prizes? Lulu? <br />
|-<br />
| Alice: Asylum Presentation Review (EU Edition)<br />
| May 30, 2018<br />
| https://www.youtube.com/watch?v=Fyb0ZPtX0mo<br />
| American and Martin host a special EU time-zone live steam where the Alice: Asylum PPT in near-final format will be reviewed in real-time. We'll talk about the Asylum pitch, use of the license, overall goals for the Asylum enterprise, and more. This is your chance to provide feedback to the team and have your voice heard. <br />
|-<br />
| American McGee's "All Paths Lead to Death" Alice<br />
| May 25, 2018<br />
| https://www.youtube.com/watch?v=Fyb0ZPtX0mo<br />
| American continues to stumble around, get lost, and die repeatedly in his own creation while Martin questions his ongoing association with someone who clearly CAN'T GAME. Meanwhile the two discuss progress on Alice: Asylum pre-production and Out of the Woods production. Lulu chews on a bone and pretends not to understand what's going on. Oh, and prizes. There will be prizes.<br />
|}<br />
<br />
[[Main Page|'''<<<Back''']]</div>Martinhttps://www.americanmcgee.com/asylumwiki/index.php?title=Story&diff=136Story2018-07-17T10:53:39Z<p>Martin: </p>
<hr />
<div>'''Alice Notes (From RJ Berg & American McGee Chats - July 17,2018)'''<br />
<br />
The Alice Trilogy<br />
<br />
* Chronology<br />
**Alice: Asylum 1863-73<br />
**AMA 1873-74—————rename this?<br />
**Alice: MR 1874-75<br />
<br />
'''1860-63'''<br />
<br />
:: Alice, a bright child with a susceptible imagination, “meets” Wonderland, an exciting refuge from her predictable, staid middle-class life in Oxford. She returns often because:<br />
<br />
:::: * It’s loaded with marvelous characters and exotic locations<br />
:::: * It’s safe. Though often threatened, she’s never physically harmed<br />
:::: * It’s filled with unique, but appealing physical and mental challenges<br />
<br />
:: Wonderland supplies:<br />
<br />
:::: *Vivid, high-wire (if juvenile) drama;<br />
:::: *Multiple brands of fun;<br />
:::: *Manageable fears, the overcoming of which build her confidence<br />
<br />
:: Likely that during 1860-63, as she ages, she’d find, on return “visits,” that some of the familiar, more fanciful Wonderland locations/options would have morphed slightly— others might have disappeared. Not all characters would survive her maturation; some would have changed roles/sides. Still, Wonderland is the refuge of choice as she enters adolescence.<br />
<br />
<span style="color:#ff0000">''ALICE ASYLUM''</span><br /><br />
Story opens in the hospital (St. Bart’s)<br />
<br />
:: <span style="color:#ff0000">''CINEMATIC''</span><br /><br />
::Two doctors enter Alice’s room, approach her bed; she’s supine, motionless.<br />
:: Doctor, waving file, reviews the “facts” of her case. <br />
<br />
<br />
:: '''VERSION 1'''<br />
# “Face it, Grantham; she’s virtually deaf, dumb, and blind.” <br />
# “She survived the fire, Doctor, but her loss . . .<br />
<br />
# “Her burns have healed; she’s been comatose for months.”<br />
# “Silence is often the sign of suffering and trauma . . .<br />
<br />
#“But what of insanity? She used to scream constantly—without cause, purpose, or result. Her mind is obviously gone. She registers no pain, no discomfort; apparently feels nothing; obviously hears nothing; and hasn’t opened her eyes in weeks. <br />
# “She is damaged, Doctor. But she will heal. She just needs time.”<br />
<br />
# She’s wasted enough of mine already. And yours. I’m sorry, Grantham, but your “therapies” are useless to her . . .and to you. They’re at odds with the hospital’s best practices and failure needlessly threatens your reputation. In my judgment it's time to shift her to a more appropriate facility—Bedlam or another asylum. As a simple matter of fact, better use could be made of her bed. Nothing more can be done for her here.”<br />
<br />
<br /><br />
:: '''VERSION 2'''<br />
<br />
:::: Doctor, St. Bart’s Managing Director, enters Alice’s room, approaches her bed; she’s supine, motionless. He’s angry, waves a file, and rants:<br />
:: “ You’ve made no progress Alice. You refuse to even try. Grantham was a good and decent man. And what did it get him? “Bedlam’s the place for you, Alice; you’ll fit right in with maniacs and hopeless reprobates warehoused there.” You’re a raving lunatic. Bart’s cannot cure your craziness. We certainly can’t afford it. Your money is exhausted. You refuse to improve. You ruined Grantham’s career and caused his demise. You won’t ruin mine. I’m a professional. I do not fail. Heal yourself, you wicked girl.”<br />
<br />
:: <span style="color:#ff0000">''CINEMATIC''</span><br /><br />
:: As doctor(s)move out of the ward, camera shifts so we see their backs; as it closes-up on Alice’s face; her eyes open suddenly; her stare is not reassuring. She’s heard it all. <span style="color:#ff0000">FTB</span><br />
<br /><br />
::November 4, 1864<br />
:: <span style="color:#ff0000">''CINEMATIC''</span><br /><br />
:: Nearly a year to the date of the fire, she is awake but, silent, uncommunicative. <br />
:: Two nurses, big winged hats, are beside Alice’s bed. Their conversation offers time, place, situation<br />
# “She just stares. Matron says it’s a ‘psycolic breakdown’.” <br />
# “Psychotic,’ I think! Like Dr. Grantham. Off his nut, he was.”<br />
<br />
#“Matron says Alice is to blame.”<br />
#“Drove him ‘round the bend’ no doubt.”<br />
<br />
# “She’s been here a year; ‘exhausted our resources.’ Matron says. She’s to RUTLEDGE ASYLUM in a day or two.<br />
# “Like to see the back of her, creepy little git.”<br />
<br />
:: They leave.<br />
<br />
:: Alice now THINKS she knows why Grantham, who was becoming deranged, has disappeared. She thinks Grantham lost the “battle for her sanity,” that having failed in his mission (to “cure” her) and “broken” his promise to her thereby, he’d killed himself. She sits up, bangs her head against the bedstead until she passes out.<br />
<br />
November 11 1864—April 1, 1865<br />
:: Alice (according to the Dr. Hieronymous Q.Wilson’s casebook to AMA,) arrived at Rutledge on a stretcher, her head encased in bandages. She’s had what he calls an “accident” at St. Bart’s. The action of ALICE ASYLUM takes place in this 6-month window.<br />
<br />
''What didn’t travel with Alice’s file from St. Barts.''<br />
:: ''Just because she didn’t talk didn’t mean she wasn’t listening''<br />
:: ''She knows about the fire. Unresolved questions about her survival confound her''<br />
:: ''She’s heard discussion about sending her to the infamous asylum, Bedlam.''<br />
:: ''Dr. Grantham, distraught, is dead. Alice is beset by new grief; mourning her loss, the disappearance of her only friend/ally in the real world. Why? Did she cause him to “go”? Is it her fault? Did she not show improvement. Is constant, permanent loss and resulting sadness her fate? The minuscule chards of her stability disintegrate. She was nearly ready to seek refuge in her brain’s favorite place. She’s been reluctant to pollute her happy place with the toxic recollections of the fire and the death of Grantham.''<br />
<br /><br />
<span style="color:#ff0000">THE GAME</span><br /><br />
:: Alice, nearly 13, musing in bed, talking to herself with things like<br />
:: “They must be gone; or they’d come to visit; on holiday without me.”<br />
:: “What’s wrong with me?” <br />
:: “Was the fire my fault?” <br />
:: “Who’s to blame—if not me?’<br />
:: “Did they save me and lose themselves”<br />
:: “Why did I survive?”<br />
:: “Did Dinah escape?”<br />
:: “Where is that Cheshire Cat?”<br />
:: “ If I could just . . .<br />
:: “If only . . . etc., etc.<br />
<br />
She alone survived the fire. But, she doesn’t quite believe it. “IT” is the fire, the death of her whole family, and her survival. <br />
<br />
In her fragile state, she’s wondered if/(pretended?) this is all a dream, a vivid nightmare. She’s hoped it. She’s invested in the dream. She’s wondered if she might create an alternative ending—so the dream might be easier to manage/cope with or just disappear. But she knows something is wrong. And often she has lucid visions of the horror. But one day, when she’s feeling (relatively)“strong,” she closes her eyes, to “sleep . . .perchance to dream”—and risks a retreat to her treasured Wonderland. <br />
<br />
She arrives. But, if not for a fleeting glimpse of a RABBIT, wherever it is she has “landed” would be unrecognizable. Wonderland the refuge, its familiar geography and topography, has been blown apart, fragmented like her mind. There’s nothing familiar, comforting, consoling, safe, or enjoyable about it.<br />
<br />
This Wonderland is a series of islands suspended in space—small planets in a sunless, starless galaxy. Her domestic tragedy seems to have triggered a cosmic event, a big bang. Wonderland has morphed into unstable and dangerous domains. The planets are in retrograde jetting away from a once benign core; lit by fire, nuclear fuel, coal, candles,, gas etc. Each planet (LEVEL) is uniquely symbolic; uniquely populated with familiar or vaguely reminiscent characters, decorated, and equipped with unique challenges, enemies, weapons, “toys,” etc. Each is primarily associated (not co-terminous) with a STAGE of Grief. Each could be associated with significant (if not always intelligible) astrological and alchemical signs, color schemes, nursery rhymes, obscure Victorian references and odd bits or popular culture.<br />
<br />
Alice perceives the likelihood of a link between her (certain though non-specific) damaged self and this strange version of Wonderland. To fix this alien, “broken” incarnation and return it to “normal,” she intuits, may help her help herself. But, like Humpty Dumpty after the fall, she can’t do it. It’s a fool’s errand (she’ll realize eventually). Doomed to failure. Not possible; not even desirable. Too much has changed. She’s lost too much. Still, her awareness of the enormity of the challenge, (and the impossibility of success as she defines it) won’t stop her from trying to reconstruct, cure, resurrect, overcome, etc., etc.<br />
<br />
:: LEVELS <br />
:: The first and final levels might be the only ones that Alice visits “in order.” The first level might be the only one selectable when the game begins. ALL other levels might become selectable after the first is “completed.” The final level would only be selectable after all the other levels have been completed. <br />
<br />
The levels could be the principle repositories (representatives) of the traditional STAGES of grief—Denial, Anger& Guilt, Bargaining, Depression (Despair), and Acceptance. But the stage and the eponymous level are not synonymous. Alice might “find” Anger and/or Depression, for example, in the level whose emphasis (and “name?”) is Denial. Multiple stages might be represented/confronted but only tentatively resolved in single Level. The stages are “managed,” not really overcome. Alice might meet/express/expose DENIAL, which is usually considered to be the first stage of grief, in any Level. ''There is no linear progression through the stages—they are not stops on some linear timeline (of grief).''<br />
<br />
<br />
The Levels might have names that suggest the STAGES <br />
:: No Noh (Denial). E.g., No is the answer to everything. No one “knows” anything. No help, no relief, no consolation or resolution) No Skill (Noh)<br />
:: Ire-Land (Anger)<br />
:: Golden Gilt (Bargaining)<br />
:: Tombstone (Depression)<br />
:: Resolution (Acceptance)<br />
<br />
:: FIRST LEVEL<br />
:: If she could only find the Cheshire Cat, she thinks, he might help her. He was mysterious, a little odd but not malignant on her youthful visits. He certainly knows things. He must still be somewhere in this altered landscape and he “likely” has more than information. When found, however he is more a Cheshire Kitten. He doesn’t, at this point, even know the value of what he knows. <br />
<br />
:: FINAL LEVEL<br />
:: The final level will need to accommodate/set up the Alice in AMA—including her state of mind, her maturity, her appearance, the “new” incarnation of Wonderland, her progress/her challenges—the “reasons” why she has to spend another 8 years at Rutledge. <br />
<br />
:: VICTORY<br />
:: <span style="color:#ff0000">What does victory look like? A win in Wonderland and/or a defeat in Rutledge.</span><br /><br />
::The final “victory” of ''ALICE: ASYLUM''—all the battles won, enemies dispatched/neutralized/converted in game play notwithstanding—is that Alice is able to achieve an understanding/acceptance of her grief—its causes and its effects. This victory is obviously qualified, uncertain, elusive, and sad. But it is ''victory'', and is the necessary condition of her returning to Wonderland (''AMA''), and handling its multiple changes, which are a function and result of her own changes. Victory in ''AMA'', leads to her release from Rutledge, <br />
<br />
Accepting the hurt/damage/sadness of the loss DOES NOT MEAN—“achieving closure,” or “forgetting” or “coming to terms with” the loss. It DOES MEAN that the denial, anger, guilt, and depression that she feels—constantly but in no particular order—may ebb and flow, but may never disappear entirely.<br />
<br />
:: As Cat might say, for example: <br />
:::: “You cope with grief. You do not conquer it.” <br />
:::: “Depression is a condition. It is also an addiction.”<br />
:::: “The fights you win in dreams are still victories”<br/><br />
Alice says:“I suppose it depends on the fight.”<br /><br />
Cat says:“I know it depends on the dream.”<br />
<br />
Alice finishes ''ALICE ASYLUM'' alone, lapses into self-induced coma. Need a motive for cat’s absence (and reappearance in a vastly different guise in ''AMA''). Night be an “operative” McGuffin perhaps an ineffectual one—not the answer to Alice’s problems. Either way: She must heal herself. <br />
<br />
<br />
<span style="color:#ff0000">''AMERICAN MCGEE’S ALICE''</span><br /><br />
September 7, 1873—1874<br />
:: After eight years of “slumber” she wakes, signals that she wants paper and pen and she draws “a cat”; after that, triggered by the Rabbit “repair”, she speaks (in rhyme). her first conventional speech in 10 years. Naturally, she’s matured physically, and It becomes clear that she has matured mentally as well. She has a more sophisticated sense of the world and her situation. Not necessarily comforted by her “understanding.” In fact, the world is more disturbing.<br />
<br />
:: She revisits (is driven back to) Wonderland; it has altered to reflect what she met, negotiated, and won in <span style="color:#ff0000">''ALICE: ASYLUM''.</span> She finds cat “much changed.” Several locations, options, and characters have morphed again; others have disappeared. The Red Queen once again threatens murder, but Alice knows her game.<br />
<br />
<br />
:: Her return visits to Wonderland become comments and revelations as she continues to “talk” with Dr. Wilson. She’s most often cogent; but just as often in ways that make no sense to him. Fitful progress; Step forward—then three steps back. She has an alter ego that is at extreme variance with her actual self. But, through gameplay, he does see progress. He sees her gaining strength; resolution; purpose. He wants to help her leave Rutledge. She’s gaining on her neurosis, but, if he’s honest, she’s got a long way to go—and he might not make it to the finish line with her. Working her way through <span style="color:#ff0000">AMA</span>, she thinks/feels she’s ready to live in the “real” world. She has learned that she must accept (own, as is frequently said today) her grief and it’s manifestations. Alice leaves Rutledge (not unharmed). Wonderland, its function, its presence, its appearance, its significance has changed forever. Layers of meaning, experience have been added to it. Layers have been lost. <br />
<br />
<span style="color:#ff0000">''ALICE: MADNESS RETURNS (1875)''</span><br /><br />
In <span style="color:#ff0000">A:MR</span>, a different set of feelings—powerful, traumatic, and deeply disturbing—are triggered by her memories. Her years of suffering—her mental anguish, her guilt, her denial—had to be endured, if not completely overcome, for her to find the truth of her tragedy and move on.<br />
<br />
<br />
:: Hatter doesn’t have the McGuffin. <br />
:::: Either there is no McGuffin; or the McGuffin, like the Hatter, is ineffectual—not the answer to Alice’s problems. She must heal herself<br />
<br />
[[Main Page|'''<<<Back''']]</div>Martinhttps://www.americanmcgee.com/asylumwiki/index.php?title=Story&diff=135Story2018-07-17T10:51:27Z<p>Martin: </p>
<hr />
<div>'''Alice Notes (From RJ Berg & American McGee Chats - July 17,2018)'''<br />
<br />
The Alice Trilogy<br />
<br />
* Chronology<br />
**Alice: Asylum 1863-73<br />
**AMA 1873-74—————rename this?<br />
**Alice: MR 1874-75<br />
<br />
'''1860-63'''<br />
<br />
:: Alice, a bright child with a susceptible imagination, “meets” Wonderland, an exciting refuge from her predictable, staid middle-class life in Oxford. She returns often because:<br />
<br />
:::: * It’s loaded with marvelous characters and exotic locations<br />
:::: * It’s safe. Though often threatened, she’s never physically harmed<br />
:::: * It’s filled with unique, but appealing physical and mental challenges<br />
<br />
:: Wonderland supplies:<br />
<br />
:::: *Vivid, high-wire (if juvenile) drama;<br />
:::: *Multiple brands of fun;<br />
:::: *Manageable fears, the overcoming of which build her confidence<br />
<br />
:: Likely that during 1860-63, as she ages, she’d find, on return “visits,” that some of the familiar, more fanciful Wonderland locations/options would have morphed slightly— others might have disappeared. Not all characters would survive her maturation; some would have changed roles/sides. Still, Wonderland is the refuge of choice as she enters adolescence.<br />
<br />
<span style="color:#ff0000">''ALICE ASYLUM''</span><br /><br />
Story opens in the hospital (St. Bart’s)<br />
<br />
:: <span style="color:#ff0000">''CINEMATIC''</span><br /><br />
::Two doctors enter Alice’s room, approach her bed; she’s supine, motionless.<br />
:: Doctor, waving file, reviews the “facts” of her case. <br />
<br />
<br />
:: '''VERSION 1'''<br />
# “Face it, Grantham; she’s virtually deaf, dumb, and blind.” <br />
# “She survived the fire, Doctor, but her loss . . .<br />
<br />
# “Her burns have healed; she’s been comatose for months.”<br />
# “Silence is often the sign of suffering and trauma . . .<br />
<br />
#“But what of insanity? She used to scream constantly—without cause, purpose, or result. Her mind is obviously gone. She registers no pain, no discomfort; apparently feels nothing; obviously hears nothing; and hasn’t opened her eyes in weeks. <br />
# “She is damaged, Doctor. But she will heal. She just needs time.”<br />
<br />
# She’s wasted enough of mine already. And yours. I’m sorry, Grantham, but your “therapies” are useless to her . . .and to you. They’re at odds with the hospital’s best practices and failure needlessly threatens your reputation. In my judgment it's time to shift her to a more appropriate facility—Bedlam or another asylum. As a simple matter of fact, better use could be made of her bed. Nothing more can be done for her here.”<br />
<br />
<br /><br />
:: '''VERSION 2'''<br />
<br />
:::: Doctor, St. Bart’s Managing Director, enters Alice’s room, approaches her bed; she’s supine, motionless. He’s angry, waves a file, and rants:<br />
:: “ You’ve made no progress Alice. You refuse to even try. Grantham was a good and decent man. And what did it get him? “Bedlam’s the place for you, Alice; you’ll fit right in with maniacs and hopeless reprobates warehoused there.” You’re a raving lunatic. Bart’s cannot cure your craziness. We certainly can’t afford it. Your money is exhausted. You refuse to improve. You ruined Grantham’s career and caused his demise. You won’t ruin mine. I’m a professional. I do not fail. Heal yourself, you wicked girl.”<br />
<br />
:: <span style="color:#ff0000">''CINEMATIC''</span><br /><br />
:: As doctor(s)move out of the ward, camera shifts so we see their backs; as it closes-up on Alice’s face; her eyes open suddenly; her stare is not reassuring. She’s heard it all. <span style="color:#ff0000">FTB</span><br />
<br /><br />
::November 4, 1864<br />
:: <span style="color:#ff0000">''CINEMATIC''</span><br /><br />
:: Nearly a year to the date of the fire, she is awake but, silent, uncommunicative. <br />
:: Two nurses, big winged hats, are beside Alice’s bed. Their conversation offers time, place, situation<br />
# “She just stares. Matron says it’s a ‘psycolic breakdown’.” <br />
# “Psychotic,’ I think! Like Dr. Grantham. Off his nut, he was.”<br />
<br />
#“Matron says Alice is to blame.”<br />
#“Drove him ‘round the bend’ no doubt.”<br />
<br />
# “She’s been here a year; ‘exhausted our resources.’ Matron says. She’s to RUTLEDGE ASYLUM in a day or two.<br />
# “Like to see the back of her, creepy little git.”<br />
<br />
:: They leave.<br />
<br />
:: Alice now THINKS she knows why Grantham, who was becoming deranged, has disappeared. She thinks Grantham lost the “battle for her sanity,” that having failed in his mission (to “cure” her) and “broken” his promise to her thereby, he’d killed himself. She sits up, bangs her head against the bedstead until she passes out.<br />
<br />
November 11 1864—April 1, 1865<br />
:: Alice (according to the Dr. Hieronymous Q.Wilson’s casebook to AMA,) arrived at Rutledge on a stretcher, her head encased in bandages. She’s had what he calls an “accident” at St. Bart’s. The action of ALICE ASYLUM takes place in this 6-month window.<br />
<br />
''What didn’t travel with Alice’s file from St. Barts.''<br />
:: ''Just because she didn’t talk didn’t mean she wasn’t listening''<br />
:: ''She knows about the fire. Unresolved questions about her survival confound her''<br />
:: ''She’s heard discussion about sending her to the infamous asylum, Bedlam.''<br />
:: ''Dr. Grantham, distraught, is dead. Alice is beset by new grief; mourning her loss, the disappearance of her only friend/ally in the real world. Why? Did she cause him to “go”? Is it her fault? Did she not show improvement. Is constant, permanent loss and resulting sadness her fate? The minuscule chards of her stability disintegrate. She was nearly ready to seek refuge in her brain’s favorite place. She’s been reluctant to pollute her happy place with the toxic recollections of the fire and the death of Grantham.''<br />
<br /><br />
<span style="color:#ff0000">THE GAME</span><br /><br />
:: Alice, nearly 13, musing in bed, talking to herself with things like<br />
:: “They must be gone; or they’d come to visit; on holiday without me.”<br />
:: “What’s wrong with me?” <br />
:: “Was the fire my fault?” <br />
:: “Who’s to blame—if not me?’<br />
:: “Did they save me and lose themselves”<br />
:: “Why did I survive?”<br />
:: “Did Dinah escape?”<br />
:: “Where is that Cheshire Cat?”<br />
:: “ If I could just . . .<br />
:: “If only . . . etc., etc.<br />
<br />
She alone survived the fire. But, she doesn’t quite believe it. “IT” is the fire, the death of her whole family, and her survival. <br />
<br />
In her fragile state, she’s wondered if/(pretended?) this is all a dream, a vivid nightmare. She’s hoped it. She’s invested in the dream. She’s wondered if she might create an alternative ending—so the dream might be easier to manage/cope with or just disappear. But she knows something is wrong. And often she has lucid visions of the horror. But one day, when she’s feeling (relatively)“strong,” she closes her eyes, to “sleep . . .perchance to dream”—and risks a retreat to her treasured Wonderland. <br />
<br />
She arrives. But, if not for a fleeting glimpse of a RABBIT, wherever it is she has “landed” would be unrecognizable. Wonderland the refuge, its familiar geography and topography, has been blown apart, fragmented like her mind. There’s nothing familiar, comforting, consoling, safe, or enjoyable about it.<br />
<br />
This Wonderland is a series of islands suspended in space—small planets in a sunless, starless galaxy. Her domestic tragedy seems to have triggered a cosmic event, a big bang. Wonderland has morphed into unstable and dangerous domains. The planets are in retrograde jetting away from a once benign core; lit by fire, nuclear fuel, coal, candles,, gas etc. Each planet (LEVEL) is uniquely symbolic; uniquely populated with familiar or vaguely reminiscent characters, decorated, and equipped with unique challenges, enemies, weapons, “toys,” etc. Each is primarily associated (not co-terminous) with a STAGE of Grief. Each could be associated with significant (if not always intelligible) astrological and alchemical signs, color schemes, nursery rhymes, obscure Victorian references and odd bits or popular culture.<br />
<br />
Alice perceives the likelihood of a link between her (certain though non-specific) damaged self and this strange version of Wonderland. To fix this alien, “broken” incarnation and return it to “normal,” she intuits, may help her help herself. But, like Humpty Dumpty after the fall, she can’t do it. It’s a fool’s errand (she’ll realize eventually). Doomed to failure. Not possible; not even desirable. Too much has changed. She’s lost too much. Still, her awareness of the enormity of the challenge, (and the impossibility of success as she defines it) won’t stop her from trying to reconstruct, cure, resurrect, overcome, etc., etc.<br />
<br />
:: LEVELS <br />
:: The first and final levels might be the only ones that Alice visits “in order.” The first level might be the only one selectable when the game begins. ALL other levels might become selectable after the first is “completed.” The final level would only be selectable after all the other levels have been completed. <br />
<br />
The levels could be the principle repositories (representatives) of the traditional STAGES of grief—Denial, Anger& Guilt, Bargaining, Depression (Despair), and Acceptance. But the stage and the eponymous level are not synonymous. Alice might “find” Anger and/or Depression, for example, in the level whose emphasis (and “name?”) is Denial. Multiple stages might be represented/confronted but only tentatively resolved in single Level. The stages are “managed,” not really overcome. Alice might meet/express/expose DENIAL, which is usually considered to be the first stage of grief, in any Level. ''There is no linear progression through the stages—they are not stops on some linear timeline (of grief).''<br />
<br />
<br />
The Levels might have names that suggest the STAGES <br />
:: No Noh (Denial). E.g., No is the answer to everything. No one “knows” anything. No help, no relief, no consolation or resolution) No Skill (Noh)<br />
:: Ire-Land (Anger)<br />
:: Golden Gilt (Bargaining)<br />
:: Tombstone (Depression)<br />
:: Resolution (Acceptance)<br />
<br />
:: FIRST LEVEL<br />
:: If she could only find the Cheshire Cat, she thinks, he might help her. He was mysterious, a little odd but not malignant on her youthful visits. He certainly knows things. He must still be somewhere in this altered landscape and he “likely” has more than information. When found, however he is more a Cheshire Kitten. He doesn’t, at this point, even know the value of what he knows. <br />
<br />
:: FINAL LEVEL<br />
:: The final level will need to accommodate/set up the Alice in AMA—including her state of mind, her maturity, her appearance, the “new” incarnation of Wonderland, her progress/her challenges—the “reasons” why she has to spend another 8 years at Rutledge. <br />
<br />
:: VICTORY<br />
:: <span style="color:#ff0000">What does victory look like? A win in Wonderland and/or a defeat in Rutledge.</span><br /><br />
::The final “victory” of ''ALICE: ASYLUM''—all the battles won, enemies dispatched/neutralized/converted in game play notwithstanding—is that Alice is able to achieve an understanding/acceptance of her grief—its causes and its effects. This victory is obviously qualified, uncertain, elusive, and sad. But it is ''victory'', and is the necessary condition of her returning to Wonderland (''AMA''), and handling its multiple changes, which are a function and result of her own changes. Victory in ''AMA'', leads to her release from Rutledge, <br />
<br />
Accepting the hurt/damage/sadness of the loss DOES NOT MEAN—“achieving closure,” or “forgetting” or “coming to terms with” the loss. It DOES MEAN that the denial, anger, guilt, and depression that she feels—constantly but in no particular order—may ebb and flow, but may never disappear entirely.<br />
<br />
:: As Cat might say, for example: <br />
:::: “You cope with grief. You do not conquer it.” <br />
:::: “Depression is a condition. It is also an addiction.”<br />
:::: “The fights you win in dreams are still victories”<br/><br />
Alice says:“I suppose it depends on the fight.”<br /><br />
Cat says:“I know it depends on the dream.”<br />
<br />
Alice finishes ''ALICE ASYLUM'' alone, lapses into self-induced coma. Need a motive for cat’s absence (and reappearance in a vastly different guise in ''AMA''). Night be an “operative” McGuffin perhaps an ineffectual one—not the answer to Alice’s problems. Either way: She must heal herself. <br />
<br />
<br />
<span style="color:#ff0000">''AMERICAN MCGEE’S ALICE''</span><br /><br />
September 7, 1873—1874<br />
:: After eight years of “slumber” she wakes, signals that she wants paper and pen and she draws “a cat”; after that, triggered by the Rabbit “repair”, she speaks (in rhyme). her first conventional speech in 10 years. Naturally, she’s matured physically, and It becomes clear that she has matured mentally as well. She has a more sophisticated sense of the world and her situation. Not necessarily comforted by her “understanding.” In fact, the world is more disturbing.<br />
<br />
:: She revisits (is driven back to) Wonderland; it has altered to reflect what she met, negotiated, and won in <span style="color:#ff0000">''ALICE: ASYLUM''.</span> She finds cat “much changed.” Several locations, options, and characters have morphed again; others have disappeared. The Red Queen once again threatens murder, but Alice knows her game.<br />
<br />
<br />
:: Her return visits to Wonderland become comments and revelations as she continues to “talk” with Dr. Wilson. She’s most often cogent; but just as often in ways that make no sense to him. Fitful progress; Step forward—then three steps back. She has an alter ego that is at extreme variance with her actual self. But, through gameplay, he does see progress. He sees her gaining strength; resolution; purpose. He wants to help her leave Rutledge. She’s gaining on her neurosis, but, if he’s honest, she’s got a long way to go—and he might not make it to the finish line with her. Working her way through <span style="color:#ff0000">AMA</span>, she thinks/feels she’s ready to live in the “real” world. She has learned that she must accept (own, as is frequently said today) her grief and it’s manifestations. Alice leaves Rutledge (not unharmed). Wonderland, its function, its presence, its appearance, its significance has changed forever. Layers of meaning, experience have been added to it. Layers have been lost. <br />
<br />
<span style="color:#ff0000">''ALICE: MADNESS RETURNS (1875)''</span><br /><br />
In <span style="color:#ff0000">A:MR</span>, a different set of feelings—powerful, traumatic, and deeply disturbing—are triggered by her memories. Her years of suffering—her mental anguish, her guilt, her denial—had to be endured, if not completely overcome, for her to find the truth of her tragedy and move on.<br />
<br />
<br />
:: Hatter doesn’t have the McGuffin. <br />
:::: Either there is no McGuffin; or the McGuffin, like the Hatter, is ineffectual—not the answer to Alice’s problems. She must heal herself</div>Martinhttps://www.americanmcgee.com/asylumwiki/index.php?title=Story&diff=134Story2018-07-17T10:50:22Z<p>Martin: </p>
<hr />
<div>'''Alice Notes (From RJ Berg & American McGee Chats - July 17,2018)'''<br />
<br />
The Alice Trilogy<br />
<br />
* Chronology<br />
**Alice: Asylum 1863-73<br />
**AMA 1873-74—————rename this?<br />
**Alice: MR 1874-75<br />
<br />
'''1860-63'''<br />
<br />
:: Alice, a bright child with a susceptible imagination, “meets” Wonderland, an exciting refuge from her predictable, staid middle-class life in Oxford. She returns often because:<br />
<br />
:::: * It’s loaded with marvelous characters and exotic locations<br />
:::: * It’s safe. Though often threatened, she’s never physically harmed<br />
:::: * It’s filled with unique, but appealing physical and mental challenges<br />
<br />
:: Wonderland supplies:<br />
<br />
:::: *Vivid, high-wire (if juvenile) drama;<br />
:::: *Multiple brands of fun;<br />
:::: *Manageable fears, the overcoming of which build her confidence<br />
<br />
:: Likely that during 1860-63, as she ages, she’d find, on return “visits,” that some of the familiar, more fanciful Wonderland locations/options would have morphed slightly— others might have disappeared. Not all characters would survive her maturation; some would have changed roles/sides. Still, Wonderland is the refuge of choice as she enters adolescence.<br />
<br />
<span style="color:#ff0000">''ALICE ASYLUM''</span><br /><br />
Story opens in the hospital (St. Bart’s)<br />
<br />
:: <span style="color:#ff0000">''CINEMATIC''</span><br /><br />
::Two doctors enter Alice’s room, approach her bed; she’s supine, motionless.<br />
:: Doctor, waving file, reviews the “facts” of her case. <br />
<br />
<br />
:: '''VERSION 1'''<br />
# “Face it, Grantham; she’s virtually deaf, dumb, and blind.” <br />
# “She survived the fire, Doctor, but her loss . . .<br />
<br />
# “Her burns have healed; she’s been comatose for months.”<br />
# “Silence is often the sign of suffering and trauma . . .<br />
<br />
#“But what of insanity? She used to scream constantly—without cause, purpose, or result. Her mind is obviously gone. She registers no pain, no discomfort; apparently feels nothing; obviously hears nothing; and hasn’t opened her eyes in weeks. <br />
# “She is damaged, Doctor. But she will heal. She just needs time.”<br />
<br />
# She’s wasted enough of mine already. And yours. I’m sorry, Grantham, but your “therapies” are useless to her . . .and to you. They’re at odds with the hospital’s best practices and failure needlessly threatens your reputation. In my judgment it's time to shift her to a more appropriate facility—Bedlam or another asylum. As a simple matter of fact, better use could be made of her bed. Nothing more can be done for her here.”<br />
<br />
<br /><br />
:: '''VERSION 2'''<br />
<br />
:::: Doctor, St. Bart’s Managing Director, enters Alice’s room, approaches her bed; she’s supine, motionless. He’s angry, waves a file, and rants:<br />
:: “ You’ve made no progress Alice. You refuse to even try. Grantham was a good and decent man. And what did it get him? “Bedlam’s the place for you, Alice; you’ll fit right in with maniacs and hopeless reprobates warehoused there.” You’re a raving lunatic. Bart’s cannot cure your craziness. We certainly can’t afford it. Your money is exhausted. You refuse to improve. You ruined Grantham’s career and caused his demise. You won’t ruin mine. I’m a professional. I do not fail. Heal yourself, you wicked girl.”<br />
<br />
:: <span style="color:#ff0000">''CINEMATIC''</span><br /><br />
:: As doctor(s)move out of the ward, camera shifts so we see their backs; as it closes-up on Alice’s face; her eyes open suddenly; her stare is not reassuring. She’s heard it all. <span style="color:#ff0000">FTB</span><br />
<br /><br />
::November 4, 1864<br />
:: <span style="color:#ff0000">''CINEMATIC''</span><br /><br />
:: Nearly a year to the date of the fire, she is awake but, silent, uncommunicative. <br />
:: Two nurses, big winged hats, are beside Alice’s bed. Their conversation offers time, place, situation<br />
# “She just stares. Matron says it’s a ‘psycolic breakdown’.” <br />
# “Psychotic,’ I think! Like Dr. Grantham. Off his nut, he was.”<br />
<br />
#“Matron says Alice is to blame.”<br />
#“Drove him ‘round the bend’ no doubt.”<br />
<br />
# “She’s been here a year; ‘exhausted our resources.’ Matron says. She’s to RUTLEDGE ASYLUM in a day or two.<br />
# “Like to see the back of her, creepy little git.”<br />
<br />
:: They leave.<br />
<br />
:: Alice now THINKS she knows why Grantham, who was becoming deranged, has disappeared. She thinks Grantham lost the “battle for her sanity,” that having failed in his mission (to “cure” her) and “broken” his promise to her thereby, he’d killed himself. She sits up, bangs her head against the bedstead until she passes out.<br />
<br />
November 11 1864—April 1, 1865<br />
:: Alice (according to the Dr. Hieronymous Q.Wilson’s casebook to AMA,) arrived at Rutledge on a stretcher, her head encased in bandages. She’s had what he calls an “accident” at St. Bart’s. The action of ALICE ASYLUM takes place in this 6-month window.<br />
<br />
''What didn’t travel with Alice’s file from St. Barts.''<br />
:: ''Just because she didn’t talk didn’t mean she wasn’t listening''<br />
:: ''She knows about the fire. Unresolved questions about her survival confound her''<br />
:: ''She’s heard discussion about sending her to the infamous asylum, Bedlam.''<br />
:: ''Dr. Grantham, distraught, is dead. Alice is beset by new grief; mourning her loss, the disappearance of her only friend/ally in the real world. Why? Did she cause him to “go”? Is it her fault? Did she not show improvement. Is constant, permanent loss and resulting sadness her fate? The minuscule chards of her stability disintegrate. She was nearly ready to seek refuge in her brain’s favorite place. She’s been reluctant to pollute her happy place with the toxic recollections of the fire and the death of Grantham.''<br />
<br /><br />
<span style="color:#ff0000">THE GAME</span><br /><br />
:: Alice, nearly 13, musing in bed, talking to herself with things like<br />
:: “They must be gone; or they’d come to visit; on holiday without me.”<br />
:: “What’s wrong with me?” <br />
:: “Was the fire my fault?” <br />
:: “Who’s to blame—if not me?’<br />
:: “Did they save me and lose themselves”<br />
:: “Why did I survive?”<br />
:: “Did Dinah escape?”<br />
:: “Where is that Cheshire Cat?”<br />
:: “ If I could just . . .<br />
:: “If only . . . etc., etc.<br />
<br />
She alone survived the fire. But, she doesn’t quite believe it. “IT” is the fire, the death of her whole family, and her survival. <br />
<br />
In her fragile state, she’s wondered if/(pretended?) this is all a dream, a vivid nightmare. She’s hoped it. She’s invested in the dream. She’s wondered if she might create an alternative ending—so the dream might be easier to manage/cope with or just disappear. But she knows something is wrong. And often she has lucid visions of the horror. But one day, when she’s feeling (relatively)“strong,” she closes her eyes, to “sleep . . .perchance to dream”—and risks a retreat to her treasured Wonderland. <br />
<br />
She arrives. But, if not for a fleeting glimpse of a RABBIT, wherever it is she has “landed” would be unrecognizable. Wonderland the refuge, its familiar geography and topography, has been blown apart, fragmented like her mind. There’s nothing familiar, comforting, consoling, safe, or enjoyable about it.<br />
<br />
This Wonderland is a series of islands suspended in space—small planets in a sunless, starless galaxy. Her domestic tragedy seems to have triggered a cosmic event, a big bang. Wonderland has morphed into unstable and dangerous domains. The planets are in retrograde jetting away from a once benign core; lit by fire, nuclear fuel, coal, candles,, gas etc. Each planet (LEVEL) is uniquely symbolic; uniquely populated with familiar or vaguely reminiscent characters, decorated, and equipped with unique challenges, enemies, weapons, “toys,” etc. Each is primarily associated (not co-terminous) with a STAGE of Grief. Each could be associated with significant (if not always intelligible) astrological and alchemical signs, color schemes, nursery rhymes, obscure Victorian references and odd bits or popular culture.<br />
<br />
Alice perceives the likelihood of a link between her (certain though non-specific) damaged self and this strange version of Wonderland. To fix this alien, “broken” incarnation and return it to “normal,” she intuits, may help her help herself. But, like Humpty Dumpty after the fall, she can’t do it. It’s a fool’s errand (she’ll realize eventually). Doomed to failure. Not possible; not even desirable. Too much has changed. She’s lost too much. Still, her awareness of the enormity of the challenge, (and the impossibility of success as she defines it) won’t stop her from trying to reconstruct, cure, resurrect, overcome, etc., etc.<br />
<br />
:: LEVELS <br />
:: The first and final levels might be the only ones that Alice visits “in order.” The first level might be the only one selectable when the game begins. ALL other levels might become selectable after the first is “completed.” The final level would only be selectable after all the other levels have been completed. <br />
<br />
The levels could be the principle repositories (representatives) of the traditional STAGES of grief—Denial, Anger& Guilt, Bargaining, Depression (Despair), and Acceptance. But the stage and the eponymous level are not synonymous. Alice might “find” Anger and/or Depression, for example, in the level whose emphasis (and “name?”) is Denial. Multiple stages might be represented/confronted but only tentatively resolved in single Level. The stages are “managed,” not really overcome. Alice might meet/express/expose DENIAL, which is usually considered to be the first stage of grief, in any Level. ''There is no linear progression through the stages—they are not stops on some linear timeline (of grief).''<br />
<br />
<br />
The Levels might have names that suggest the STAGES <br />
:: No Noh (Denial). E.g., No is the answer to everything. No one “knows” anything. No help, no relief, no consolation or resolution) No Skill (Noh)<br />
:: Ire-Land (Anger)<br />
:: Golden Gilt (Bargaining)<br />
:: Tombstone (Depression)<br />
:: Resolution (Acceptance)<br />
<br />
:: FIRST LEVEL<br />
:: If she could only find the Cheshire Cat, she thinks, he might help her. He was mysterious, a little odd but not malignant on her youthful visits. He certainly knows things. He must still be somewhere in this altered landscape and he “likely” has more than information. When found, however he is more a Cheshire Kitten. He doesn’t, at this point, even know the value of what he knows. <br />
<br />
:: FINAL LEVEL<br />
:: The final level will need to accommodate/set up the Alice in AMA—including her state of mind, her maturity, her appearance, the “new” incarnation of Wonderland, her progress/her challenges—the “reasons” why she has to spend another 8 years at Rutledge. <br />
<br />
:: VICTORY<br />
:: <span style="color:#ff0000">What does victory look like? A win in Wonderland and/or a defeat in Rutledge.</span><br /><br />
::The final “victory” of ''ALICE: ASYLUM''—all the battles won, enemies dispatched/neutralized/converted in game play notwithstanding—is that Alice is able to achieve an understanding/acceptance of her grief—its causes and its effects. This victory is obviously qualified, uncertain, elusive, and sad. But it is ''victory'', and is the necessary condition of her returning to Wonderland (''AMA''), and handling its multiple changes, which are a function and result of her own changes. Victory in ''AMA'', leads to her release from Rutledge, <br />
<br />
Accepting the hurt/damage/sadness of the loss DOES NOT MEAN—“achieving closure,” or “forgetting” or “coming to terms with” the loss. It DOES MEAN that the denial, anger, guilt, and depression that she feels—constantly but in no particular order—may ebb and flow, but may never disappear entirely.<br />
<br />
:: As Cat might say, for example: <br />
:::: “You cope with grief. You do not conquer it.” <br />
:::: “Depression is a condition. It is also an addiction.”<br />
:::: “The fights you win in dreams are still victories”<br/><br />
Alice says:“I suppose it depends on the fight.”<br /><br />
Cat says:“I know it depends on the dream.”<br />
<br />
Alice finishes ''ALICE ASYLUM'' alone, lapses into self-induced coma. Need a motive for cat’s absence (and reappearance in a vastly different guise in ''AMA''). Night be an “operative” McGuffin perhaps an ineffectual one—not the answer to Alice’s problems. Either way: She must heal herself. <br />
<br />
<br />
<span style="color:#ff0000">''AMERICAN MCGEE’S ALICE''</span><br /><br />
September 7, 1873—1874<br />
:: After eight years of “slumber” she wakes, signals that she wants paper and pen and she draws “a cat”; after that, triggered by the Rabbit “repair”, she speaks (in rhyme). her first conventional speech in 10 years. Naturally, she’s matured physically, and It becomes clear that she has matured mentally as well. She has a more sophisticated sense of the world and her situation. Not necessarily comforted by her “understanding.” In fact, the world is more disturbing.<br />
<br />
:: She revisits (is driven back to) Wonderland; it has altered to reflect what she met, negotiated, and won in <span style="color:#ff0000">''ALICE: ASYLUM''.</span> She finds cat “much changed.” Several locations, options, and characters have morphed again; others have disappeared. The Red Queen once again threatens murder, but Alice knows her game.<br />
<br />
<br />
:: Her return visits to Wonderland become comments and revelations as she continues to “talk” with Dr. Wilson. She’s most often cogent; but just as often in ways that make no sense to him. Fitful progress; Step forward—then three steps back. She has an alter ego that is at extreme variance with her actual self. But, through gameplay, he does see progress. He sees her gaining strength; resolution; purpose. He wants to help her leave Rutledge. She’s gaining on her neurosis, but, if he’s honest, she’s got a long way to go—and he might not make it to the finish line with her. Working her way through <span style="color:#ff0000">AMA</span>, she thinks/feels she’s ready to live in the “real” world. She has learned that she must accept (own, as is frequently said today) her grief and it’s manifestations. Alice leaves Rutledge (not unharmed). Wonderland, its function, its presence, its appearance, its significance has changed forever. Layers of meaning, experience have been added to it. Layers have been lost. <br />
<br />
ALICE: MADNESS RETURNS (1875)<br />
In A:MR, a different set of feelings—powerful, traumatic, and deeply disturbing—are triggered by her memories. Her years of suffering—her mental anguish, her guilt, her denial—had to be endured, if not completely overcome, for her to find the truth of her tragedy and move on.<br />
<br />
<br />
Hatter doesn’t have the McGuffin. <br />
Either there is no McGuffin; or the McGuffin, like the Hatter, is ineffectual—not the answer to Alice’s problems. She must heal herself</div>Martinhttps://www.americanmcgee.com/asylumwiki/index.php?title=Story&diff=133Story2018-07-17T10:10:20Z<p>Martin: </p>
<hr />
<div>'''Alice Notes (From RJ Berg & American McGee Chats - July 17,2018)'''<br />
<br />
The Alice Trilogy<br />
<br />
* Chronology<br />
**Alice: Asylum 1863-73<br />
**AMA 1873-74—————rename this?<br />
**Alice: MR 1874-75<br />
<br />
'''1860-63'''<br />
<br />
:: Alice, a bright child with a susceptible imagination, “meets” Wonderland, an exciting refuge from her predictable, staid middle-class life in Oxford. She returns often because:<br />
<br />
:::: * It’s loaded with marvelous characters and exotic locations<br />
:::: * It’s safe. Though often threatened, she’s never physically harmed<br />
:::: * It’s filled with unique, but appealing physical and mental challenges<br />
<br />
:: Wonderland supplies:<br />
<br />
:::: *Vivid, high-wire (if juvenile) drama;<br />
:::: *Multiple brands of fun;<br />
:::: *Manageable fears, the overcoming of which build her confidence<br />
<br />
:: Likely that during 1860-63, as she ages, she’d find, on return “visits,” that some of the familiar, more fanciful Wonderland locations/options would have morphed slightly— others might have disappeared. Not all characters would survive her maturation; some would have changed roles/sides. Still, Wonderland is the refuge of choice as she enters adolescence.<br />
<br />
<span style="color:#ff0000">''ALICE ASYLUM''</span><br /><br />
Story opens in the hospital (St. Bart’s)<br />
<br />
:: <span style="color:#ff0000">''CINEMATIC''</span><br /><br />
::Two doctors enter Alice’s room, approach her bed; she’s supine, motionless.<br />
:: Doctor, waving file, reviews the “facts” of her case. <br />
<br />
<br />
:: '''VERSION 1'''<br />
# “Face it, Grantham; she’s virtually deaf, dumb, and blind.” <br />
# “She survived the fire, Doctor, but her loss . . .<br />
<br />
# “Her burns have healed; she’s been comatose for months.”<br />
# “Silence is often the sign of suffering and trauma . . .<br />
<br />
#“But what of insanity? She used to scream constantly—without cause, purpose, or result. Her mind is obviously gone. She registers no pain, no discomfort; apparently feels nothing; obviously hears nothing; and hasn’t opened her eyes in weeks. <br />
# “She is damaged, Doctor. But she will heal. She just needs time.”<br />
<br />
# She’s wasted enough of mine already. And yours. I’m sorry, Grantham, but your “therapies” are useless to her . . .and to you. They’re at odds with the hospital’s best practices and failure needlessly threatens your reputation. In my judgment it's time to shift her to a more appropriate facility—Bedlam or another asylum. As a simple matter of fact, better use could be made of her bed. Nothing more can be done for her here.”<br />
<br />
<br /><br />
:: '''VERSION 2'''<br />
<br />
:::: Doctor, St. Bart’s Managing Director, enters Alice’s room, approaches her bed; she’s supine, motionless. He’s angry, waves a file, and rants:<br />
:: “ You’ve made no progress Alice. You refuse to even try. Grantham was a good and decent man. And what did it get him? “Bedlam’s the place for you, Alice; you’ll fit right in with maniacs and hopeless reprobates warehoused there.” You’re a raving lunatic. Bart’s cannot cure your craziness. We certainly can’t afford it. Your money is exhausted. You refuse to improve. You ruined Grantham’s career and caused his demise. You won’t ruin mine. I’m a professional. I do not fail. Heal yourself, you wicked girl.”<br />
<br />
:: <span style="color:#ff0000">''CINEMATIC''</span><br /><br />
:: As doctor(s)move out of the ward, camera shifts so we see their backs; as it closes-up on Alice’s face; her eyes open suddenly; her stare is not reassuring. She’s heard it all. <span style="color:#ff0000">FTB</span><br />
<br /><br />
::November 4, 1864<br />
:: <span style="color:#ff0000">''CINEMATIC''</span><br /><br />
:: Nearly a year to the date of the fire, she is awake but, silent, uncommunicative. <br />
:: Two nurses, big winged hats, are beside Alice’s bed. Their conversation offers time, place, situation<br />
# “She just stares. Matron says it’s a ‘psycolic breakdown’.” <br />
# “Psychotic,’ I think! Like Dr. Grantham. Off his nut, he was.”<br />
<br />
#“Matron says Alice is to blame.”<br />
#“Drove him ‘round the bend’ no doubt.”<br />
<br />
# “She’s been here a year; ‘exhausted our resources.’ Matron says. She’s to RUTLEDGE ASYLUM in a day or two.<br />
# “Like to see the back of her, creepy little git.”<br />
<br />
:: They leave.<br />
<br />
:: Alice now THINKS she knows why Grantham, who was becoming deranged, has disappeared. She thinks Grantham lost the “battle for her sanity,” that having failed in his mission (to “cure” her) and “broken” his promise to her thereby, he’d killed himself. She sits up, bangs her head against the bedstead until she passes out.<br />
<br />
November 11 1864—April 1, 1865<br />
:: Alice (according to the Dr. Hieronymous Q.Wilson’s casebook to AMA,) arrived at Rutledge on a stretcher, her head encased in bandages. She’s had what he calls an “accident” at St. Bart’s. The action of ALICE ASYLUM takes place in this 6-month window.<br />
<br />
''What didn’t travel with Alice’s file from St. Barts.''<br />
:: ''Just because she didn’t talk didn’t mean she wasn’t listening''<br />
:: ''She knows about the fire. Unresolved questions about her survival confound her''<br />
:: ''She’s heard discussion about sending her to the infamous asylum, Bedlam.''<br />
:: ''Dr. Grantham, distraught, is dead. Alice is beset by new grief; mourning her loss, the disappearance of her only friend/ally in the real world. Why? Did she cause him to “go”? Is it her fault? Did she not show improvement. Is constant, permanent loss and resulting sadness her fate? The minuscule chards of her stability disintegrate. She was nearly ready to seek refuge in her brain’s favorite place. She’s been reluctant to pollute her happy place with the toxic recollections of the fire and the death of Grantham.''<br />
<br /><br />
<span style="color:#ff0000">THE GAME</span><br /><br />
:: Alice, nearly 13, musing in bed, talking to herself with things like<br />
:: “They must be gone; or they’d come to visit; on holiday without me.”<br />
:: “What’s wrong with me?” <br />
:: “Was the fire my fault?” <br />
:: “Who’s to blame—if not me?’<br />
:: “Did they save me and lose themselves”<br />
:: “Why did I survive?”<br />
:: “Did Dinah escape?”<br />
:: “Where is that Cheshire Cat?”<br />
:: “ If I could just . . .<br />
:: “If only . . . etc., etc.<br />
<br />
She alone survived the fire. But, she doesn’t quite believe it. “IT” is the fire, the death of her whole family, and her survival. <br />
<br />
In her fragile state, she’s wondered if/(pretended?) this is all a dream, a vivid nightmare. She’s hoped it. She’s invested in the dream. She’s wondered if she might create an alternative ending—so the dream might be easier to manage/cope with or just disappear. But she knows something is wrong. And often she has lucid visions of the horror. But one day, when she’s feeling (relatively)“strong,” she closes her eyes, to “sleep . . .perchance to dream”—and risks a retreat to her treasured Wonderland. <br />
<br />
She arrives. But, if not for a fleeting glimpse of a RABBIT, wherever it is she has “landed” would be unrecognizable. Wonderland the refuge, its familiar geography and topography, has been blown apart, fragmented like her mind. There’s nothing familiar, comforting, consoling, safe, or enjoyable about it.<br />
<br />
This Wonderland is a series of islands suspended in space—small planets in a sunless, starless galaxy. Her domestic tragedy seems to have triggered a cosmic event, a big bang. Wonderland has morphed into unstable and dangerous domains. The planets are in retrograde jetting away from a once benign core; lit by fire, nuclear fuel, coal, candles,, gas etc. Each planet (LEVEL) is uniquely symbolic; uniquely populated with familiar or vaguely reminiscent characters, decorated, and equipped with unique challenges, enemies, weapons, “toys,” etc. Each is primarily associated (not co-terminous) with a STAGE of Grief. Each could be associated with significant (if not always intelligible) astrological and alchemical signs, color schemes, nursery rhymes, obscure Victorian references and odd bits or popular culture.<br />
<br />
Alice perceives the likelihood of a link between her (certain though non-specific) damaged self and this strange version of Wonderland. To fix this alien, “broken” incarnation and return it to “normal,” she intuits, may help her help herself. But, like Humpty Dumpty after the fall, she can’t do it. It’s a fool’s errand (she’ll realize eventually). Doomed to failure. Not possible; not even desirable. Too much has changed. She’s lost too much. Still, her awareness of the enormity of the challenge, (and the impossibility of success as she defines it) won’t stop her from trying to reconstruct, cure, resurrect, overcome, etc., etc.<br />
<br />
:: LEVELS <br />
:: The first and final levels might be the only ones that Alice visits “in order.” The first level might be the only one selectable when the game begins. ALL other levels might become selectable after the first is “completed.” The final level would only be selectable after all the other levels have been completed. <br />
<br />
The levels could be the principle repositories (representatives) of the traditional STAGES of grief—Denial, Anger& Guilt, Bargaining, Depression (Despair), and Acceptance. But the stage and the eponymous level are not synonymous. Alice might “find” Anger and/or Depression, for example, in the level whose emphasis (and “name?”) is Denial. Multiple stages might be represented/confronted but only tentatively resolved in single Level. The stages are “managed,” not really overcome. Alice might meet/express/expose DENIAL, which is usually considered to be the first stage of grief, in any Level. ''There is no linear progression through the stages—they are not stops on some linear timeline (of grief).''<br />
<br />
<br />
The Levels might have names that suggest the STAGES <br />
No Noh (Denial). E.g., No is the answer to everything. No one “knows” anything. No help, no relief, no consolation or resolution) No Skill (Noh)<br />
Ire-Land (Anger)<br />
Golden Gilt (Bargaining)<br />
Tombstone (Depression)<br />
Resolution (Acceptance)<br />
<br />
FIRST LEVEL<br />
If she could only find the Cheshire Cat, she thinks, he might help her. He was mysterious, a little odd but not malignant on her youthful visits. He certainly knows things. He must still be somewhere in this altered landscape and he “likely” has more than information. When found, however he is more a Cheshire Kitten. He doesn’t, at this point, even know the value of what he knows. <br />
<br />
FINAL LEVEL<br />
The final level will need to accommodate/set up the Alice in AMA—including her state of mind, her maturity, her appearance, the “new” incarnation of Wonderland, her progress/her challenges—the “reasons” why she has to spend another 8 years at Rutledge. <br />
<br />
VICTORY<br />
What does victory look like? A win in Wonderland and/or a defeat in Rutledge. <br />
The final “victory” of ALICE: ASYLUM—all the battles won, enemies dispatched/neutralized/converted in game play notwithstanding—is that Alice is able to achieve an understanding/acceptance of her grief—its causes and its effects. This victory is obviously qualified, uncertain, elusive, and sad. But it is victory, and is the necessary condition of her returning to Wonderland (AMA), and handling its multiple changes, which are a function and result of her own changes. Victory in AMA, leads to her release from Rutledge, <br />
<br />
Accepting the hurt/damage/sadness of the loss DOES NOT MEAN—“achieving closure,” or “forgetting” or “coming to terms with” the loss. It DOES MEAN that the denial, anger, guilt, and depression that she feels—constantly but in no particular order—may ebb and flow, but may never disappear entirely.<br />
<br />
As Cat might say, for example: <br />
“You cope with grief. You do not conquer it.” <br />
“Depression is a condition. It is also an addiction.”<br />
“The fights you win in dreams are still victories”<br />
Alice says: “I suppose it depends on the fight.”<br />
Cat says: “I know it depends on the dream.”<br />
<br />
Alice finishes ALICE ASYLUM alone, lapses into self-induced coma. Need a motive for cat’s absence (and reappearance in a vastly different guise in AMA). Night be an “operative” McGuffin perhaps an ineffectual one—not the answer to Alice’s problems. Either way: She must heal herself. <br />
<br />
AMERICAN MCGEE’S ALICE<br />
September 7, 1873—1874<br />
After eight years of “slumber” she wakes, signals that she wants paper and pen and she draws “a cat”; after that, triggered by the Rabbit “repair”, she speaks (in rhyme). her first conventional speech in 10 years. Naturally, she’s matured physically, and It becomes clear that she has matured mentally as well. She has a more sophisticated sense of the world and her situation. Not necessarily comforted by her “understanding.” In fact, the world is more disturbing.<br />
<br />
She revisits (is driven back to) Wonderland; it has altered to reflect what she met, negotiated, and won in ALICE: ASYLUM. She finds cat “much changed.” Several locations, options, and characters have morphed again; others have disappeared. The Red Queen once again threatens murder, but Alice knows her game.<br />
<br />
Her return visits to Wonderland become comments and revelations as she continues to “talk” with Dr. Wilson. She’s most often cogent; but just as often in ways that make no sense to him. Fitful progress; Step forward—then three steps back. She has an alter ego that is at extreme variance with her actual self. But, through gameplay, he does see progress. He sees her gaining strength; resolution; purpose. He wants to help her leave Rutledge. She’s gaining on her neurosis, but, if he’s honest, she’s got a long way to go—and he might not make it to the finish line with her. Working her way through AMA, she thinks/feels she’s ready to live in the “real” world. She has learned that she must accept (own, as is frequently said today) her grief and it’s manifestations. Alice leaves Rutledge (not unharmed). Wonderland, its function, its presence, its appearance, its significance has changed forever. Layers of meaning, experience have been added to it. Layers have been lost. <br />
<br />
ALICE: MADNESS RETURNS (1875)<br />
In A:MR, a different set of feelings—powerful, traumatic, and deeply disturbing—are triggered by her memories. Her years of suffering—her mental anguish, her guilt, her denial—had to be endured, if not completely overcome, for her to find the truth of her tragedy and move on.<br />
<br />
<br />
Hatter doesn’t have the McGuffin. <br />
Either there is no McGuffin; or the McGuffin, like the Hatter, is ineffectual—not the answer to Alice’s problems. She must heal herself</div>Martinhttps://www.americanmcgee.com/asylumwiki/index.php?title=Story&diff=132Story2018-07-17T09:44:16Z<p>Martin: </p>
<hr />
<div>'''Alice Notes (From RJ Berg & American McGee Chats - July 17,2018)'''<br />
<br />
The Alice Trilogy<br />
<br />
* Chronology<br />
**Alice: Asylum 1863-73<br />
**AMA 1873-74—————rename this?<br />
**Alice: MR 1874-75<br />
<br />
'''1860-63'''<br />
<br />
:: Alice, a bright child with a susceptible imagination, “meets” Wonderland, an exciting refuge from her predictable, staid middle-class life in Oxford. She returns often because:<br />
<br />
:::: * It’s loaded with marvelous characters and exotic locations<br />
:::: * It’s safe. Though often threatened, she’s never physically harmed<br />
:::: * It’s filled with unique, but appealing physical and mental challenges<br />
<br />
:: Wonderland supplies:<br />
<br />
:::: *Vivid, high-wire (if juvenile) drama;<br />
:::: *Multiple brands of fun;<br />
:::: *Manageable fears, the overcoming of which build her confidence<br />
<br />
:: Likely that during 1860-63, as she ages, she’d find, on return “visits,” that some of the familiar, more fanciful Wonderland locations/options would have morphed slightly— others might have disappeared. Not all characters would survive her maturation; some would have changed roles/sides. Still, Wonderland is the refuge of choice as she enters adolescence.<br />
<br />
<span style="color:#ff0000">''ALICE ASYLUM''</span><br /><br />
Story opens in the hospital (St. Bart’s)<br />
<br />
:: <span style="color:#ff0000">''CINEMATIC''</span><br /><br />
::Two doctors enter Alice’s room, approach her bed; she’s supine, motionless.<br />
:: Doctor, waving file, reviews the “facts” of her case. <br />
<br />
<br />
:: '''VERSION 1'''<br />
# “Face it, Grantham; she’s virtually deaf, dumb, and blind.” <br />
# “She survived the fire, Doctor, but her loss . . .<br />
<br />
# “Her burns have healed; she’s been comatose for months.”<br />
# “Silence is often the sign of suffering and trauma . . .<br />
<br />
#“But what of insanity? She used to scream constantly—without cause, purpose, or result. Her mind is obviously gone. She registers no pain, no discomfort; apparently feels nothing; obviously hears nothing; and hasn’t opened her eyes in weeks. <br />
# “She is damaged, Doctor. But she will heal. She just needs time.”<br />
<br />
# She’s wasted enough of mine already. And yours. I’m sorry, Grantham, but your “therapies” are useless to her . . .and to you. They’re at odds with the hospital’s best practices and failure needlessly threatens your reputation. In my judgment it's time to shift her to a more appropriate facility—Bedlam or another asylum. As a simple matter of fact, better use could be made of her bed. Nothing more can be done for her here.”<br />
<br />
<br /><br />
:: '''VERSION 2'''<br />
<br />
:::: Doctor, St. Bart’s Managing Director, enters Alice’s room, approaches her bed; she’s supine, motionless. He’s angry, waves a file, and rants:<br />
:: “ You’ve made no progress Alice. You refuse to even try. Grantham was a good and decent man. And what did it get him? “Bedlam’s the place for you, Alice; you’ll fit right in with maniacs and hopeless reprobates warehoused there.” You’re a raving lunatic. Bart’s cannot cure your craziness. We certainly can’t afford it. Your money is exhausted. You refuse to improve. You ruined Grantham’s career and caused his demise. You won’t ruin mine. I’m a professional. I do not fail. Heal yourself, you wicked girl.”<br />
<br />
:: <span style="color:#ff0000">''CINEMATIC''</span><br /><br />
:: As doctor(s)move out of the ward, camera shifts so we see their backs; as it closes-up on Alice’s face; her eyes open suddenly; her stare is not reassuring. She’s heard it all. <span style="color:#ff0000">FTB</span><br />
<br /><br />
::November 4, 1864<br />
:: <span style="color:#ff0000">''CINEMATIC''</span><br /><br />
:: Nearly a year to the date of the fire, she is awake but, silent, uncommunicative. <br />
:: Two nurses, big winged hats, are beside Alice’s bed. Their conversation offers time, place, situation<br />
# “She just stares. Matron says it’s a ‘psycolic breakdown’.” <br />
# “Psychotic,’ I think! Like Dr. Grantham. Off his nut, he was.”<br />
<br />
#“Matron says Alice is to blame.”<br />
#“Drove him ‘round the bend’ no doubt.”<br />
<br />
# “She’s been here a year; ‘exhausted our resources.’ Matron says. She’s to RUTLEDGE ASYLUM in a day or two.<br />
# “Like to see the back of her, creepy little git.”<br />
<br />
:: They leave.<br />
<br />
Alice now THINKS she knows why Grantham, who was becoming deranged, has disappeared. She thinks Grantham lost the “battle for her sanity,” that having failed in his mission (to “cure” her) and “broken” his promise to her thereby, he’d killed himself. She sits up, bangs her head against the bedstead until she passes out.<br />
<br />
November 11 1864—April 1, 1865<br />
Alice (according to the Dr. Hieronymous Q.Wilson’s casebook to AMA,) arrived at Rutledge on a stretcher, her head encased in bandages. She’s had what he calls an “accident” at St. Bart’s. The action of ALICE ASYLUM takes place in this 6-month window.<br />
<br />
What didn’t travel with Alice’s file from St. Barts.<br />
Just because she didn’t talk didn’t mean she wasn’t listening<br />
She knows about the fire. Unresolved questions about her survival confound her<br />
She’s heard discussion about sending her to the infamous asylum, Bedlam.<br />
Dr. Grantham, distraught, is dead. Alice is beset by new grief; mourning her loss, the disappearance of her only friend/ally in the real world. Why? Did she cause him to “go”? Is it her fault? Did she not show improvement. Is constant, permanent loss and resulting sadness her fate? The minuscule chards of her stability disintegrate. She was nearly ready to seek refuge in her brain’s favorite place. She’s been reluctant to pollute her happy place with the toxic recollections of the fire and the death of Grantham.<br />
<br />
THE GAME<br />
Alice, nearly 13, musing in bed, talking to herself with things like<br />
“They must be gone; or they’d come to visit; on holiday without me.”<br />
“What’s wrong with me?” <br />
“Was the fire my fault?” <br />
“Who’s to blame—if not me?’<br />
“Did they save me and lose themselves”<br />
“Why did I survive?”<br />
“Did Dinah escape?”<br />
“Where is that Cheshire Cat?”<br />
“ If I could just . . .<br />
“If only . . . etc., etc.<br />
<br />
She alone survived the fire. But, she doesn’t quite believe it. “IT” is the fire, the death of her whole family, and her survival. <br />
<br />
In her fragile state, she’s wondered if/(pretended?) this is all a dream, a vivid nightmare. She’s hoped it. She’s invested in the dream. She’s wondered if she might create an alternative ending—so the dream might be easier to manage/cope with or just disappear. But she knows something is wrong. And often she has lucid visions of the horror. But one day, when she’s feeling (relatively)“strong,” she closes her eyes, to “sleep . . .perchance to dream”—and risks a retreat to her treasured Wonderland. <br />
<br />
She arrives. But, if not for a fleeting glimpse of a RABBIT, wherever it is she has “landed” would be unrecognizable. Wonderland the refuge, its familiar geography and topography, has been blown apart, fragmented like her mind. There’s nothing familiar, comforting, consoling, safe, or enjoyable about it.<br />
<br />
This Wonderland is a series of islands suspended in space—small planets in a sunless, starless galaxy. Her domestic tragedy seems to have triggered a cosmic event, a big bang. Wonderland has morphed into unstable and dangerous domains. The planets are in retrograde jetting away from a once benign core; lit by fire, nuclear fuel, coal, candles,, gas etc. Each planet (LEVEL) is uniquely symbolic; uniquely populated with familiar or vaguely reminiscent characters, decorated, and equipped with unique challenges, enemies, weapons, “toys,” etc. Each is primarily associated (not co-terminous) with a STAGE of Grief. Each could be associated with significant (if not always intelligible) astrological and alchemical signs, color schemes, nursery rhymes, obscure Victorian references and odd bits or popular culture.<br />
<br />
Alice perceives the likelihood of a link between her (certain though non-specific) damaged self and this strange version of Wonderland. To fix this alien, “broken” incarnation and return it to “normal,” she intuits, may help her help herself. But, like Humpty Dumpty after the fall, she can’t do it. It’s a fool’s errand (she’ll realize eventually). Doomed to failure. Not possible; not even desirable. Too much has changed. She’s lost too much. Still, her awareness of the enormity of the challenge, (and the impossibility of success as she defines it) won’t stop her from trying to reconstruct, cure, resurrect, overcome, etc., etc.<br />
<br />
LEVELS <br />
The first and final levels might be the only ones that Alice visits “in order.” The first level might be the only one selectable when the game begins. ALL other levels might become selectable after the first is “completed.” The final level would only be selectable after all the other levels have been completed. <br />
<br />
The levels could be the principle repositories (representatives) of the traditional STAGES of grief—Denial, Anger& Guilt, Bargaining, Depression (Despair), and Acceptance. But the stage and the eponymous level are not synonymous. Alice might “find” Anger and/or Depression, for example, in the level whose emphasis (and “name?”) is Denial. Multiple stages might be represented/confronted but only tentatively resolved in single Level. The stages are “managed,” not really overcome. Alice might meet/express/expose DENIAL, which is usually considered to be the first stage of grief, in any Level. There is no linear progression through the stages—they are not stops on some linear timeline (of grief).<br />
<br />
<br />
<br />
<br />
<br />
The Levels might have names that suggest the STAGES <br />
No Noh (Denial). E.g., No is the answer to everything. No one “knows” anything. No help, no relief, no consolation or resolution) No Skill (Noh)<br />
Ire-Land (Anger)<br />
Golden Gilt (Bargaining)<br />
Tombstone (Depression)<br />
Resolution (Acceptance)<br />
<br />
FIRST LEVEL<br />
If she could only find the Cheshire Cat, she thinks, he might help her. He was mysterious, a little odd but not malignant on her youthful visits. He certainly knows things. He must still be somewhere in this altered landscape and he “likely” has more than information. When found, however he is more a Cheshire Kitten. He doesn’t, at this point, even know the value of what he knows. <br />
<br />
FINAL LEVEL<br />
The final level will need to accommodate/set up the Alice in AMA—including her state of mind, her maturity, her appearance, the “new” incarnation of Wonderland, her progress/her challenges—the “reasons” why she has to spend another 8 years at Rutledge. <br />
<br />
VICTORY<br />
What does victory look like? A win in Wonderland and/or a defeat in Rutledge. <br />
The final “victory” of ALICE: ASYLUM—all the battles won, enemies dispatched/neutralized/converted in game play notwithstanding—is that Alice is able to achieve an understanding/acceptance of her grief—its causes and its effects. This victory is obviously qualified, uncertain, elusive, and sad. But it is victory, and is the necessary condition of her returning to Wonderland (AMA), and handling its multiple changes, which are a function and result of her own changes. Victory in AMA, leads to her release from Rutledge, <br />
<br />
Accepting the hurt/damage/sadness of the loss DOES NOT MEAN—“achieving closure,” or “forgetting” or “coming to terms with” the loss. It DOES MEAN that the denial, anger, guilt, and depression that she feels—constantly but in no particular order—may ebb and flow, but may never disappear entirely.<br />
<br />
As Cat might say, for example: <br />
“You cope with grief. You do not conquer it.” <br />
“Depression is a condition. It is also an addiction.”<br />
“The fights you win in dreams are still victories”<br />
Alice says: “I suppose it depends on the fight.”<br />
Cat says: “I know it depends on the dream.”<br />
<br />
Alice finishes ALICE ASYLUM alone, lapses into self-induced coma. Need a motive for cat’s absence (and reappearance in a vastly different guise in AMA). Night be an “operative” McGuffin perhaps an ineffectual one—not the answer to Alice’s problems. Either way: She must heal herself. <br />
<br />
AMERICAN MCGEE’S ALICE<br />
September 7, 1873—1874<br />
After eight years of “slumber” she wakes, signals that she wants paper and pen and she draws “a cat”; after that, triggered by the Rabbit “repair”, she speaks (in rhyme). her first conventional speech in 10 years. Naturally, she’s matured physically, and It becomes clear that she has matured mentally as well. She has a more sophisticated sense of the world and her situation. Not necessarily comforted by her “understanding.” In fact, the world is more disturbing.<br />
<br />
She revisits (is driven back to) Wonderland; it has altered to reflect what she met, negotiated, and won in ALICE: ASYLUM. She finds cat “much changed.” Several locations, options, and characters have morphed again; others have disappeared. The Red Queen once again threatens murder, but Alice knows her game.<br />
<br />
Her return visits to Wonderland become comments and revelations as she continues to “talk” with Dr. Wilson. She’s most often cogent; but just as often in ways that make no sense to him. Fitful progress; Step forward—then three steps back. She has an alter ego that is at extreme variance with her actual self. But, through gameplay, he does see progress. He sees her gaining strength; resolution; purpose. He wants to help her leave Rutledge. She’s gaining on her neurosis, but, if he’s honest, she’s got a long way to go—and he might not make it to the finish line with her. Working her way through AMA, she thinks/feels she’s ready to live in the “real” world. She has learned that she must accept (own, as is frequently said today) her grief and it’s manifestations. Alice leaves Rutledge (not unharmed). Wonderland, its function, its presence, its appearance, its significance has changed forever. Layers of meaning, experience have been added to it. Layers have been lost. <br />
<br />
ALICE: MADNESS RETURNS (1875)<br />
In A:MR, a different set of feelings—powerful, traumatic, and deeply disturbing—are triggered by her memories. Her years of suffering—her mental anguish, her guilt, her denial—had to be endured, if not completely overcome, for her to find the truth of her tragedy and move on.<br />
<br />
<br />
Hatter doesn’t have the McGuffin. <br />
Either there is no McGuffin; or the McGuffin, like the Hatter, is ineffectual—not the answer to Alice’s problems. She must heal herself</div>Martinhttps://www.americanmcgee.com/asylumwiki/index.php?title=Story&diff=131Story2018-07-17T09:43:37Z<p>Martin: </p>
<hr />
<div>'''Alice Notes (From RJ Berg & American McGee Chats - July 17,2018)'''<br />
<br />
The Alice Trilogy<br />
<br />
* Chronology<br />
**Alice: Asylum 1863-73<br />
**AMA 1873-74—————rename this?<br />
**Alice: MR 1874-75<br />
<br />
'''1860-63'''<br />
<br />
:: Alice, a bright child with a susceptible imagination, “meets” Wonderland, an exciting refuge from her predictable, staid middle-class life in Oxford. She returns often because:<br />
<br />
:::: * It’s loaded with marvelous characters and exotic locations<br />
:::: * It’s safe. Though often threatened, she’s never physically harmed<br />
:::: * It’s filled with unique, but appealing physical and mental challenges<br />
<br />
:: Wonderland supplies:<br />
<br />
:::: *Vivid, high-wire (if juvenile) drama;<br />
:::: *Multiple brands of fun;<br />
:::: *Manageable fears, the overcoming of which build her confidence<br />
<br />
:: Likely that during 1860-63, as she ages, she’d find, on return “visits,” that some of the familiar, more fanciful Wonderland locations/options would have morphed slightly— others might have disappeared. Not all characters would survive her maturation; some would have changed roles/sides. Still, Wonderland is the refuge of choice as she enters adolescence.<br />
<br />
<span style="color:#ff0000">''ALICE ASYLUM''</span><br /><br />
Story opens in the hospital (St. Bart’s)<br />
<br />
:: <span style="color:#ff0000">''CINEMATIC''</span><br /><br />
::Two doctors enter Alice’s room, approach her bed; she’s supine, motionless.<br />
:: Doctor, waving file, reviews the “facts” of her case. <br />
<br />
<br />
:: '''VERSION 1'''<br />
# “Face it, Grantham; she’s virtually deaf, dumb, and blind.” <br />
# “She survived the fire, Doctor, but her loss . . .<br />
<br />
# “Her burns have healed; she’s been comatose for months.”<br />
# “Silence is often the sign of suffering and trauma . . .<br />
<br />
#“But what of insanity? She used to scream constantly—without cause, purpose, or result. Her mind is obviously gone. She registers no pain, no discomfort; apparently feels nothing; obviously hears nothing; and hasn’t opened her eyes in weeks. <br />
# “She is damaged, Doctor. But she will heal. She just needs time.”<br />
<br />
# She’s wasted enough of mine already. And yours. I’m sorry, Grantham, but your “therapies” are useless to her . . .and to you. They’re at odds with the hospital’s best practices and failure needlessly threatens your reputation. In my judgment it's time to shift her to a more appropriate facility—Bedlam or another asylum. As a simple matter of fact, better use could be made of her bed. Nothing more can be done for her here.”<br />
<br />
<br /><br />
:: '''VERSION 2'''<br />
<br />
:::: Doctor, St. Bart’s Managing Director, enters Alice’s room, approaches her bed; she’s supine, motionless. He’s angry, waves a file, and rants:<br />
:: “ You’ve made no progress Alice. You refuse to even try. Grantham was a good and decent man. And what did it get him? “Bedlam’s the place for you, Alice; you’ll fit right in with maniacs and hopeless reprobates warehoused there.” You’re a raving lunatic. Bart’s cannot cure your craziness. We certainly can’t afford it. Your money is exhausted. You refuse to improve. You ruined Grantham’s career and caused his demise. You won’t ruin mine. I’m a professional. I do not fail. Heal yourself, you wicked girl.”<br />
<br />
:: <span style="color:#ff0000">''CINEMATIC''</span><br /><br />
:: As doctor(s)move out of the ward, camera shifts so we see their backs; as it closes-up on Alice’s face; her eyes open suddenly; her stare is not reassuring. She’s heard it all. <span style="color:#ff0000">FTB</span><br />
<br /><br />
::November 4, 1864<br />
:: <span style="color:#ff0000">''CINEMATIC''</span><br /><br />
:: Nearly a year to the date of the fire, she is awake but, silent, uncommunicative. <br />
:: Two nurses, big winged hats, are beside Alice’s bed. Their conversation offers time, place, situation<br />
# “She just stares. Matron says it’s a ‘psycolic breakdown’.” <br />
# “Psychotic,’ I think! Like Dr. Grantham. Off his nut, he was.”<br />
<br />
#“Matron says Alice is to blame.”<br />
#“Drove him ‘round the bend’ no doubt.”<br />
<br />
# “She’s been here a year; ‘exhausted our resources.’ Matron says. She’s to RUTLEDGE ASYLUM in a day or two.<br />
# “Like to see the back of her, creepy little git.”<br />
<br /><br />
:: They leave.<br />
<br />
Alice now THINKS she knows why Grantham, who was becoming deranged, has disappeared. She thinks Grantham lost the “battle for her sanity,” that having failed in his mission (to “cure” her) and “broken” his promise to her thereby, he’d killed himself. She sits up, bangs her head against the bedstead until she passes out.<br />
<br />
November 11 1864—April 1, 1865<br />
Alice (according to the Dr. Hieronymous Q.Wilson’s casebook to AMA,) arrived at Rutledge on a stretcher, her head encased in bandages. She’s had what he calls an “accident” at St. Bart’s. The action of ALICE ASYLUM takes place in this 6-month window.<br />
<br />
What didn’t travel with Alice’s file from St. Barts.<br />
Just because she didn’t talk didn’t mean she wasn’t listening<br />
She knows about the fire. Unresolved questions about her survival confound her<br />
She’s heard discussion about sending her to the infamous asylum, Bedlam.<br />
Dr. Grantham, distraught, is dead. Alice is beset by new grief; mourning her loss, the disappearance of her only friend/ally in the real world. Why? Did she cause him to “go”? Is it her fault? Did she not show improvement. Is constant, permanent loss and resulting sadness her fate? The minuscule chards of her stability disintegrate. She was nearly ready to seek refuge in her brain’s favorite place. She’s been reluctant to pollute her happy place with the toxic recollections of the fire and the death of Grantham.<br />
<br />
THE GAME<br />
Alice, nearly 13, musing in bed, talking to herself with things like<br />
“They must be gone; or they’d come to visit; on holiday without me.”<br />
“What’s wrong with me?” <br />
“Was the fire my fault?” <br />
“Who’s to blame—if not me?’<br />
“Did they save me and lose themselves”<br />
“Why did I survive?”<br />
“Did Dinah escape?”<br />
“Where is that Cheshire Cat?”<br />
“ If I could just . . .<br />
“If only . . . etc., etc.<br />
<br />
She alone survived the fire. But, she doesn’t quite believe it. “IT” is the fire, the death of her whole family, and her survival. <br />
<br />
In her fragile state, she’s wondered if/(pretended?) this is all a dream, a vivid nightmare. She’s hoped it. She’s invested in the dream. She’s wondered if she might create an alternative ending—so the dream might be easier to manage/cope with or just disappear. But she knows something is wrong. And often she has lucid visions of the horror. But one day, when she’s feeling (relatively)“strong,” she closes her eyes, to “sleep . . .perchance to dream”—and risks a retreat to her treasured Wonderland. <br />
<br />
She arrives. But, if not for a fleeting glimpse of a RABBIT, wherever it is she has “landed” would be unrecognizable. Wonderland the refuge, its familiar geography and topography, has been blown apart, fragmented like her mind. There’s nothing familiar, comforting, consoling, safe, or enjoyable about it.<br />
<br />
This Wonderland is a series of islands suspended in space—small planets in a sunless, starless galaxy. Her domestic tragedy seems to have triggered a cosmic event, a big bang. Wonderland has morphed into unstable and dangerous domains. The planets are in retrograde jetting away from a once benign core; lit by fire, nuclear fuel, coal, candles,, gas etc. Each planet (LEVEL) is uniquely symbolic; uniquely populated with familiar or vaguely reminiscent characters, decorated, and equipped with unique challenges, enemies, weapons, “toys,” etc. Each is primarily associated (not co-terminous) with a STAGE of Grief. Each could be associated with significant (if not always intelligible) astrological and alchemical signs, color schemes, nursery rhymes, obscure Victorian references and odd bits or popular culture.<br />
<br />
Alice perceives the likelihood of a link between her (certain though non-specific) damaged self and this strange version of Wonderland. To fix this alien, “broken” incarnation and return it to “normal,” she intuits, may help her help herself. But, like Humpty Dumpty after the fall, she can’t do it. It’s a fool’s errand (she’ll realize eventually). Doomed to failure. Not possible; not even desirable. Too much has changed. She’s lost too much. Still, her awareness of the enormity of the challenge, (and the impossibility of success as she defines it) won’t stop her from trying to reconstruct, cure, resurrect, overcome, etc., etc.<br />
<br />
LEVELS <br />
The first and final levels might be the only ones that Alice visits “in order.” The first level might be the only one selectable when the game begins. ALL other levels might become selectable after the first is “completed.” The final level would only be selectable after all the other levels have been completed. <br />
<br />
The levels could be the principle repositories (representatives) of the traditional STAGES of grief—Denial, Anger& Guilt, Bargaining, Depression (Despair), and Acceptance. But the stage and the eponymous level are not synonymous. Alice might “find” Anger and/or Depression, for example, in the level whose emphasis (and “name?”) is Denial. Multiple stages might be represented/confronted but only tentatively resolved in single Level. The stages are “managed,” not really overcome. Alice might meet/express/expose DENIAL, which is usually considered to be the first stage of grief, in any Level. There is no linear progression through the stages—they are not stops on some linear timeline (of grief).<br />
<br />
<br />
<br />
<br />
<br />
The Levels might have names that suggest the STAGES <br />
No Noh (Denial). E.g., No is the answer to everything. No one “knows” anything. No help, no relief, no consolation or resolution) No Skill (Noh)<br />
Ire-Land (Anger)<br />
Golden Gilt (Bargaining)<br />
Tombstone (Depression)<br />
Resolution (Acceptance)<br />
<br />
FIRST LEVEL<br />
If she could only find the Cheshire Cat, she thinks, he might help her. He was mysterious, a little odd but not malignant on her youthful visits. He certainly knows things. He must still be somewhere in this altered landscape and he “likely” has more than information. When found, however he is more a Cheshire Kitten. He doesn’t, at this point, even know the value of what he knows. <br />
<br />
FINAL LEVEL<br />
The final level will need to accommodate/set up the Alice in AMA—including her state of mind, her maturity, her appearance, the “new” incarnation of Wonderland, her progress/her challenges—the “reasons” why she has to spend another 8 years at Rutledge. <br />
<br />
VICTORY<br />
What does victory look like? A win in Wonderland and/or a defeat in Rutledge. <br />
The final “victory” of ALICE: ASYLUM—all the battles won, enemies dispatched/neutralized/converted in game play notwithstanding—is that Alice is able to achieve an understanding/acceptance of her grief—its causes and its effects. This victory is obviously qualified, uncertain, elusive, and sad. But it is victory, and is the necessary condition of her returning to Wonderland (AMA), and handling its multiple changes, which are a function and result of her own changes. Victory in AMA, leads to her release from Rutledge, <br />
<br />
Accepting the hurt/damage/sadness of the loss DOES NOT MEAN—“achieving closure,” or “forgetting” or “coming to terms with” the loss. It DOES MEAN that the denial, anger, guilt, and depression that she feels—constantly but in no particular order—may ebb and flow, but may never disappear entirely.<br />
<br />
As Cat might say, for example: <br />
“You cope with grief. You do not conquer it.” <br />
“Depression is a condition. It is also an addiction.”<br />
“The fights you win in dreams are still victories”<br />
Alice says: “I suppose it depends on the fight.”<br />
Cat says: “I know it depends on the dream.”<br />
<br />
Alice finishes ALICE ASYLUM alone, lapses into self-induced coma. Need a motive for cat’s absence (and reappearance in a vastly different guise in AMA). Night be an “operative” McGuffin perhaps an ineffectual one—not the answer to Alice’s problems. Either way: She must heal herself. <br />
<br />
AMERICAN MCGEE’S ALICE<br />
September 7, 1873—1874<br />
After eight years of “slumber” she wakes, signals that she wants paper and pen and she draws “a cat”; after that, triggered by the Rabbit “repair”, she speaks (in rhyme). her first conventional speech in 10 years. Naturally, she’s matured physically, and It becomes clear that she has matured mentally as well. She has a more sophisticated sense of the world and her situation. Not necessarily comforted by her “understanding.” In fact, the world is more disturbing.<br />
<br />
She revisits (is driven back to) Wonderland; it has altered to reflect what she met, negotiated, and won in ALICE: ASYLUM. She finds cat “much changed.” Several locations, options, and characters have morphed again; others have disappeared. The Red Queen once again threatens murder, but Alice knows her game.<br />
<br />
Her return visits to Wonderland become comments and revelations as she continues to “talk” with Dr. Wilson. She’s most often cogent; but just as often in ways that make no sense to him. Fitful progress; Step forward—then three steps back. She has an alter ego that is at extreme variance with her actual self. But, through gameplay, he does see progress. He sees her gaining strength; resolution; purpose. He wants to help her leave Rutledge. She’s gaining on her neurosis, but, if he’s honest, she’s got a long way to go—and he might not make it to the finish line with her. Working her way through AMA, she thinks/feels she’s ready to live in the “real” world. She has learned that she must accept (own, as is frequently said today) her grief and it’s manifestations. Alice leaves Rutledge (not unharmed). Wonderland, its function, its presence, its appearance, its significance has changed forever. Layers of meaning, experience have been added to it. Layers have been lost. <br />
<br />
ALICE: MADNESS RETURNS (1875)<br />
In A:MR, a different set of feelings—powerful, traumatic, and deeply disturbing—are triggered by her memories. Her years of suffering—her mental anguish, her guilt, her denial—had to be endured, if not completely overcome, for her to find the truth of her tragedy and move on.<br />
<br />
<br />
Hatter doesn’t have the McGuffin. <br />
Either there is no McGuffin; or the McGuffin, like the Hatter, is ineffectual—not the answer to Alice’s problems. She must heal herself</div>Martinhttps://www.americanmcgee.com/asylumwiki/index.php?title=Story&diff=130Story2018-07-17T08:53:52Z<p>Martin: </p>
<hr />
<div>'''Alice Notes (From RJ Berg & American McGee Chats - July 17,2018)'''<br />
<br />
The Alice Trilogy<br />
<br />
* Chronology<br />
**Alice: Asylum 1863-73<br />
**AMA 1873-74—————rename this?<br />
**Alice: MR 1874-75<br />
<br />
'''1860-63'''<br />
<br />
:: Alice, a bright child with a susceptible imagination, “meets” Wonderland, an exciting refuge from her predictable, staid middle-class life in Oxford. She returns often because:<br />
<br />
:::: * It’s loaded with marvelous characters and exotic locations<br />
:::: * It’s safe. Though often threatened, she’s never physically harmed<br />
:::: * It’s filled with unique, but appealing physical and mental challenges<br />
<br />
:: Wonderland supplies:<br />
<br />
:::: *Vivid, high-wire (if juvenile) drama;<br />
:::: *Multiple brands of fun;<br />
:::: *Manageable fears, the overcoming of which build her confidence<br />
<br />
:: Likely that during 1860-63, as she ages, she’d find, on return “visits,” that some of the familiar, more fanciful Wonderland locations/options would have morphed slightly— others might have disappeared. Not all characters would survive her maturation; some would have changed roles/sides. Still, Wonderland is the refuge of choice as she enters adolescence.<br />
<br />
<span style="color:#ff0000">''ALICE ASYLUM''</span><br /><br />
Story opens in the hospital (St. Bart’s)<br />
<br />
:: <span style="color:#ff0000">''CINEMATIC''</span><br /><br />
::Two doctors enter Alice’s room, approach her bed; she’s supine, motionless.<br />
:: Doctor, waving file, reviews the “facts” of her case. <br />
<br />
<br />
:: '''VERSION 1'''<br />
# “Face it, Grantham; she’s virtually deaf, dumb, and blind.” <br />
# “She survived the fire, Doctor, but her loss . . .<br />
<br />
# “Her burns have healed; she’s been comatose for months.”<br />
# “Silence is often the sign of suffering and trauma . . .<br />
<br />
#“But what of insanity? She used to scream constantly—without cause, purpose, or result. Her mind is obviously gone. She registers no pain, no discomfort; apparently feels nothing; obviously hears nothing; and hasn’t opened her eyes in weeks. <br />
# “She is damaged, Doctor. But she will heal. She just needs time.”<br />
<br />
# She’s wasted enough of mine already. And yours. I’m sorry, Grantham, but your “therapies” are useless to her . . .and to you. They’re at odds with the hospital’s best practices and failure needlessly threatens your reputation. In my judgment it's time to shift her to a more appropriate facility—Bedlam or another asylum. As a simple matter of fact, better use could be made of her bed. Nothing more can be done for her here.”<br />
<br />
<br /><br />
:: '''VERSION 2'''<br />
<br />
Doctor, St. Bart’s Managing Director, enters Alice’s room, approaches her bed; she’s supine, motionless. He’s angry, waves a file, and rants:<br />
“ You’ve made no progress Alice. You refuse to even try. Grantham was a good and decent man. And what did it get him? “Bedlam’s the place for you, Alice; you’ll fit right in with maniacs and hopeless reprobates warehoused there.” You’re a raving lunatic. Bart’s cannot cure your craziness. We certainly can’t afford it. Your money is exhausted. You refuse to improve. You ruined Grantham’s career and caused his demise. You won’t ruin mine. I’m a professional. I do not fail. Heal yourself, you wicked girl.”<br />
<br />
CINEMATIC<br />
As doctor(s)move out of the ward, camera shifts so we see their backs; as it closes-up on Alice’s face; her eyes open suddenly; her stare is not reassuring. She’s heard it all. FTB<br />
<br />
November 4, 1864<br />
CINEMATIC<br />
Nearly a year to the date of the fire, she is awake but, silent, uncommunicative. <br />
Two nurses, big winged hats, are beside Alice’s bed. Their conversation offers time, place, situation<br />
1: “She just stares. Matron says it’s a ‘psycolic breakdown’.” <br />
2: “Psychotic,’ I think! Like Dr. Grantham. Off his nut, he was.”<br />
1: “Matron says Alice is to blame.”<br />
2: “Drove him ‘round the bend’ no doubt.”<br />
1: “She’s been here a year; ‘exhausted our resources.’ Matron says. She’s to RUTLEDGE ASYLUM in a day or two.<br />
2: “Like to see the back of her, creepy little git.”<br />
<br />
They leave.<br />
<br />
Alice now THINKS she knows why Grantham, who was becoming deranged, has disappeared. She thinks Grantham lost the “battle for her sanity,” that having failed in his mission (to “cure” her) and “broken” his promise to her thereby, he’d killed himself. She sits up, bangs her head against the bedstead until she passes out.<br />
<br />
November 11 1864—April 1, 1865<br />
Alice (according to the Dr. Hieronymous Q.Wilson’s casebook to AMA,) arrived at Rutledge on a stretcher, her head encased in bandages. She’s had what he calls an “accident” at St. Bart’s. The action of ALICE ASYLUM takes place in this 6-month window.<br />
<br />
What didn’t travel with Alice’s file from St. Barts.<br />
Just because she didn’t talk didn’t mean she wasn’t listening<br />
She knows about the fire. Unresolved questions about her survival confound her<br />
She’s heard discussion about sending her to the infamous asylum, Bedlam.<br />
Dr. Grantham, distraught, is dead. Alice is beset by new grief; mourning her loss, the disappearance of her only friend/ally in the real world. Why? Did she cause him to “go”? Is it her fault? Did she not show improvement. Is constant, permanent loss and resulting sadness her fate? The minuscule chards of her stability disintegrate. She was nearly ready to seek refuge in her brain’s favorite place. She’s been reluctant to pollute her happy place with the toxic recollections of the fire and the death of Grantham.<br />
<br />
THE GAME<br />
Alice, nearly 13, musing in bed, talking to herself with things like<br />
“They must be gone; or they’d come to visit; on holiday without me.”<br />
“What’s wrong with me?” <br />
“Was the fire my fault?” <br />
“Who’s to blame—if not me?’<br />
“Did they save me and lose themselves”<br />
“Why did I survive?”<br />
“Did Dinah escape?”<br />
“Where is that Cheshire Cat?”<br />
“ If I could just . . .<br />
“If only . . . etc., etc.<br />
<br />
She alone survived the fire. But, she doesn’t quite believe it. “IT” is the fire, the death of her whole family, and her survival. <br />
<br />
In her fragile state, she’s wondered if/(pretended?) this is all a dream, a vivid nightmare. She’s hoped it. She’s invested in the dream. She’s wondered if she might create an alternative ending—so the dream might be easier to manage/cope with or just disappear. But she knows something is wrong. And often she has lucid visions of the horror. But one day, when she’s feeling (relatively)“strong,” she closes her eyes, to “sleep . . .perchance to dream”—and risks a retreat to her treasured Wonderland. <br />
<br />
She arrives. But, if not for a fleeting glimpse of a RABBIT, wherever it is she has “landed” would be unrecognizable. Wonderland the refuge, its familiar geography and topography, has been blown apart, fragmented like her mind. There’s nothing familiar, comforting, consoling, safe, or enjoyable about it.<br />
<br />
This Wonderland is a series of islands suspended in space—small planets in a sunless, starless galaxy. Her domestic tragedy seems to have triggered a cosmic event, a big bang. Wonderland has morphed into unstable and dangerous domains. The planets are in retrograde jetting away from a once benign core; lit by fire, nuclear fuel, coal, candles,, gas etc. Each planet (LEVEL) is uniquely symbolic; uniquely populated with familiar or vaguely reminiscent characters, decorated, and equipped with unique challenges, enemies, weapons, “toys,” etc. Each is primarily associated (not co-terminous) with a STAGE of Grief. Each could be associated with significant (if not always intelligible) astrological and alchemical signs, color schemes, nursery rhymes, obscure Victorian references and odd bits or popular culture.<br />
<br />
Alice perceives the likelihood of a link between her (certain though non-specific) damaged self and this strange version of Wonderland. To fix this alien, “broken” incarnation and return it to “normal,” she intuits, may help her help herself. But, like Humpty Dumpty after the fall, she can’t do it. It’s a fool’s errand (she’ll realize eventually). Doomed to failure. Not possible; not even desirable. Too much has changed. She’s lost too much. Still, her awareness of the enormity of the challenge, (and the impossibility of success as she defines it) won’t stop her from trying to reconstruct, cure, resurrect, overcome, etc., etc.<br />
<br />
LEVELS <br />
The first and final levels might be the only ones that Alice visits “in order.” The first level might be the only one selectable when the game begins. ALL other levels might become selectable after the first is “completed.” The final level would only be selectable after all the other levels have been completed. <br />
<br />
The levels could be the principle repositories (representatives) of the traditional STAGES of grief—Denial, Anger& Guilt, Bargaining, Depression (Despair), and Acceptance. But the stage and the eponymous level are not synonymous. Alice might “find” Anger and/or Depression, for example, in the level whose emphasis (and “name?”) is Denial. Multiple stages might be represented/confronted but only tentatively resolved in single Level. The stages are “managed,” not really overcome. Alice might meet/express/expose DENIAL, which is usually considered to be the first stage of grief, in any Level. There is no linear progression through the stages—they are not stops on some linear timeline (of grief).<br />
<br />
<br />
<br />
<br />
<br />
The Levels might have names that suggest the STAGES <br />
No Noh (Denial). E.g., No is the answer to everything. No one “knows” anything. No help, no relief, no consolation or resolution) No Skill (Noh)<br />
Ire-Land (Anger)<br />
Golden Gilt (Bargaining)<br />
Tombstone (Depression)<br />
Resolution (Acceptance)<br />
<br />
FIRST LEVEL<br />
If she could only find the Cheshire Cat, she thinks, he might help her. He was mysterious, a little odd but not malignant on her youthful visits. He certainly knows things. He must still be somewhere in this altered landscape and he “likely” has more than information. When found, however he is more a Cheshire Kitten. He doesn’t, at this point, even know the value of what he knows. <br />
<br />
FINAL LEVEL<br />
The final level will need to accommodate/set up the Alice in AMA—including her state of mind, her maturity, her appearance, the “new” incarnation of Wonderland, her progress/her challenges—the “reasons” why she has to spend another 8 years at Rutledge. <br />
<br />
VICTORY<br />
What does victory look like? A win in Wonderland and/or a defeat in Rutledge. <br />
The final “victory” of ALICE: ASYLUM—all the battles won, enemies dispatched/neutralized/converted in game play notwithstanding—is that Alice is able to achieve an understanding/acceptance of her grief—its causes and its effects. This victory is obviously qualified, uncertain, elusive, and sad. But it is victory, and is the necessary condition of her returning to Wonderland (AMA), and handling its multiple changes, which are a function and result of her own changes. Victory in AMA, leads to her release from Rutledge, <br />
<br />
Accepting the hurt/damage/sadness of the loss DOES NOT MEAN—“achieving closure,” or “forgetting” or “coming to terms with” the loss. It DOES MEAN that the denial, anger, guilt, and depression that she feels—constantly but in no particular order—may ebb and flow, but may never disappear entirely.<br />
<br />
As Cat might say, for example: <br />
“You cope with grief. You do not conquer it.” <br />
“Depression is a condition. It is also an addiction.”<br />
“The fights you win in dreams are still victories”<br />
Alice says: “I suppose it depends on the fight.”<br />
Cat says: “I know it depends on the dream.”<br />
<br />
Alice finishes ALICE ASYLUM alone, lapses into self-induced coma. Need a motive for cat’s absence (and reappearance in a vastly different guise in AMA). Night be an “operative” McGuffin perhaps an ineffectual one—not the answer to Alice’s problems. Either way: She must heal herself. <br />
<br />
AMERICAN MCGEE’S ALICE<br />
September 7, 1873—1874<br />
After eight years of “slumber” she wakes, signals that she wants paper and pen and she draws “a cat”; after that, triggered by the Rabbit “repair”, she speaks (in rhyme). her first conventional speech in 10 years. Naturally, she’s matured physically, and It becomes clear that she has matured mentally as well. She has a more sophisticated sense of the world and her situation. Not necessarily comforted by her “understanding.” In fact, the world is more disturbing.<br />
<br />
She revisits (is driven back to) Wonderland; it has altered to reflect what she met, negotiated, and won in ALICE: ASYLUM. She finds cat “much changed.” Several locations, options, and characters have morphed again; others have disappeared. The Red Queen once again threatens murder, but Alice knows her game.<br />
<br />
Her return visits to Wonderland become comments and revelations as she continues to “talk” with Dr. Wilson. She’s most often cogent; but just as often in ways that make no sense to him. Fitful progress; Step forward—then three steps back. She has an alter ego that is at extreme variance with her actual self. But, through gameplay, he does see progress. He sees her gaining strength; resolution; purpose. He wants to help her leave Rutledge. She’s gaining on her neurosis, but, if he’s honest, she’s got a long way to go—and he might not make it to the finish line with her. Working her way through AMA, she thinks/feels she’s ready to live in the “real” world. She has learned that she must accept (own, as is frequently said today) her grief and it’s manifestations. Alice leaves Rutledge (not unharmed). Wonderland, its function, its presence, its appearance, its significance has changed forever. Layers of meaning, experience have been added to it. Layers have been lost. <br />
<br />
ALICE: MADNESS RETURNS (1875)<br />
In A:MR, a different set of feelings—powerful, traumatic, and deeply disturbing—are triggered by her memories. Her years of suffering—her mental anguish, her guilt, her denial—had to be endured, if not completely overcome, for her to find the truth of her tragedy and move on.<br />
<br />
<br />
Hatter doesn’t have the McGuffin. <br />
Either there is no McGuffin; or the McGuffin, like the Hatter, is ineffectual—not the answer to Alice’s problems. She must heal herself</div>Martinhttps://www.americanmcgee.com/asylumwiki/index.php?title=Story&diff=129Story2018-07-17T08:49:19Z<p>Martin: </p>
<hr />
<div>'''Alice Notes (From RJ Berg & American McGee Chats - July 17,2018)'''<br />
<br />
The Alice Trilogy<br />
<br />
* Chronology<br />
**Alice: Asylum 1863-73<br />
**AMA 1873-74—————rename this?<br />
**Alice: MR 1874-75<br />
<br />
'''1860-63'''<br />
<br />
:: Alice, a bright child with a susceptible imagination, “meets” Wonderland, an exciting refuge from her predictable, staid middle-class life in Oxford. She returns often because:<br />
<br />
:::: * It’s loaded with marvelous characters and exotic locations<br />
:::: * It’s safe. Though often threatened, she’s never physically harmed<br />
:::: * It’s filled with unique, but appealing physical and mental challenges<br />
<br />
:: Wonderland supplies:<br />
<br />
:::: *Vivid, high-wire (if juvenile) drama;<br />
:::: *Multiple brands of fun;<br />
:::: *Manageable fears, the overcoming of which build her confidence<br />
<br />
:: Likely that during 1860-63, as she ages, she’d find, on return “visits,” that some of the familiar, more fanciful Wonderland locations/options would have morphed slightly— others might have disappeared. Not all characters would survive her maturation; some would have changed roles/sides. Still, Wonderland is the refuge of choice as she enters adolescence.<br />
<br />
<span style="color:#ff0000">'''''ALICE ASYLUM'''''</span><br /><br />
Story opens in the hospital (St. Bart’s)<br />
<br />
:: <span style="color:#ff0000">'''''CINEMATIC'''''</span><br /><br />
::Two doctors enter Alice’s room, approach her bed; she’s supine, motionless.<br />
:: Doctor, waving file, reviews the “facts” of her case. <br />
<br />
<br />
VERSION 1<br />
1: “Face it, Grantham; she’s virtually deaf, dumb, and blind.” <br />
2: “She survived the fire, Doctor, but her loss . . .<br />
1: “Her burns have healed; she’s been comatose for months.”<br />
2: “Silence is often the sign of suffering and trauma . . .<br />
1: “But what of insanity? She used to scream constantly—without cause, purpose, or result. Her mind is obviously gone. She registers no pain, no discomfort; apparently feels nothing; obviously hears nothing; and hasn’t opened her eyes in weeks. <br />
2: “She is damaged, Doctor. But she will heal. She just needs time.”<br />
1: She’s wasted enough of mine already. And yours. I’m sorry, Grantham, but your “therapies” are useless to her . . .and to you. They’re at odds with the hospital’s best practices and failure needlessly threatens your reputation. In my judgment it's time to shift her to a more appropriate facility—Bedlam or another asylum. As a simple matter of fact, better use could be made of her bed. Nothing more can be done for her here.”<br />
<br />
VERSION 2<br />
Doctor, St. Bart’s Managing Director, enters Alice’s room, approaches her bed; she’s supine, motionless. He’s angry, waves a file, and rants:<br />
“ You’ve made no progress Alice. You refuse to even try. Grantham was a good and decent man. And what did it get him? “Bedlam’s the place for you, Alice; you’ll fit right in with maniacs and hopeless reprobates warehoused there.” You’re a raving lunatic. Bart’s cannot cure your craziness. We certainly can’t afford it. Your money is exhausted. You refuse to improve. You ruined Grantham’s career and caused his demise. You won’t ruin mine. I’m a professional. I do not fail. Heal yourself, you wicked girl.”<br />
<br />
CINEMATIC<br />
As doctor(s)move out of the ward, camera shifts so we see their backs; as it closes-up on Alice’s face; her eyes open suddenly; her stare is not reassuring. She’s heard it all. FTB<br />
<br />
November 4, 1864<br />
CINEMATIC<br />
Nearly a year to the date of the fire, she is awake but, silent, uncommunicative. <br />
Two nurses, big winged hats, are beside Alice’s bed. Their conversation offers time, place, situation<br />
1: “She just stares. Matron says it’s a ‘psycolic breakdown’.” <br />
2: “Psychotic,’ I think! Like Dr. Grantham. Off his nut, he was.”<br />
1: “Matron says Alice is to blame.”<br />
2: “Drove him ‘round the bend’ no doubt.”<br />
1: “She’s been here a year; ‘exhausted our resources.’ Matron says. She’s to RUTLEDGE ASYLUM in a day or two.<br />
2: “Like to see the back of her, creepy little git.”<br />
<br />
They leave.<br />
<br />
Alice now THINKS she knows why Grantham, who was becoming deranged, has disappeared. She thinks Grantham lost the “battle for her sanity,” that having failed in his mission (to “cure” her) and “broken” his promise to her thereby, he’d killed himself. She sits up, bangs her head against the bedstead until she passes out.<br />
<br />
November 11 1864—April 1, 1865<br />
Alice (according to the Dr. Hieronymous Q.Wilson’s casebook to AMA,) arrived at Rutledge on a stretcher, her head encased in bandages. She’s had what he calls an “accident” at St. Bart’s. The action of ALICE ASYLUM takes place in this 6-month window.<br />
<br />
What didn’t travel with Alice’s file from St. Barts.<br />
Just because she didn’t talk didn’t mean she wasn’t listening<br />
She knows about the fire. Unresolved questions about her survival confound her<br />
She’s heard discussion about sending her to the infamous asylum, Bedlam.<br />
Dr. Grantham, distraught, is dead. Alice is beset by new grief; mourning her loss, the disappearance of her only friend/ally in the real world. Why? Did she cause him to “go”? Is it her fault? Did she not show improvement. Is constant, permanent loss and resulting sadness her fate? The minuscule chards of her stability disintegrate. She was nearly ready to seek refuge in her brain’s favorite place. She’s been reluctant to pollute her happy place with the toxic recollections of the fire and the death of Grantham.<br />
<br />
THE GAME<br />
Alice, nearly 13, musing in bed, talking to herself with things like<br />
“They must be gone; or they’d come to visit; on holiday without me.”<br />
“What’s wrong with me?” <br />
“Was the fire my fault?” <br />
“Who’s to blame—if not me?’<br />
“Did they save me and lose themselves”<br />
“Why did I survive?”<br />
“Did Dinah escape?”<br />
“Where is that Cheshire Cat?”<br />
“ If I could just . . .<br />
“If only . . . etc., etc.<br />
<br />
She alone survived the fire. But, she doesn’t quite believe it. “IT” is the fire, the death of her whole family, and her survival. <br />
<br />
In her fragile state, she’s wondered if/(pretended?) this is all a dream, a vivid nightmare. She’s hoped it. She’s invested in the dream. She’s wondered if she might create an alternative ending—so the dream might be easier to manage/cope with or just disappear. But she knows something is wrong. And often she has lucid visions of the horror. But one day, when she’s feeling (relatively)“strong,” she closes her eyes, to “sleep . . .perchance to dream”—and risks a retreat to her treasured Wonderland. <br />
<br />
She arrives. But, if not for a fleeting glimpse of a RABBIT, wherever it is she has “landed” would be unrecognizable. Wonderland the refuge, its familiar geography and topography, has been blown apart, fragmented like her mind. There’s nothing familiar, comforting, consoling, safe, or enjoyable about it.<br />
<br />
This Wonderland is a series of islands suspended in space—small planets in a sunless, starless galaxy. Her domestic tragedy seems to have triggered a cosmic event, a big bang. Wonderland has morphed into unstable and dangerous domains. The planets are in retrograde jetting away from a once benign core; lit by fire, nuclear fuel, coal, candles,, gas etc. Each planet (LEVEL) is uniquely symbolic; uniquely populated with familiar or vaguely reminiscent characters, decorated, and equipped with unique challenges, enemies, weapons, “toys,” etc. Each is primarily associated (not co-terminous) with a STAGE of Grief. Each could be associated with significant (if not always intelligible) astrological and alchemical signs, color schemes, nursery rhymes, obscure Victorian references and odd bits or popular culture.<br />
<br />
Alice perceives the likelihood of a link between her (certain though non-specific) damaged self and this strange version of Wonderland. To fix this alien, “broken” incarnation and return it to “normal,” she intuits, may help her help herself. But, like Humpty Dumpty after the fall, she can’t do it. It’s a fool’s errand (she’ll realize eventually). Doomed to failure. Not possible; not even desirable. Too much has changed. She’s lost too much. Still, her awareness of the enormity of the challenge, (and the impossibility of success as she defines it) won’t stop her from trying to reconstruct, cure, resurrect, overcome, etc., etc.<br />
<br />
LEVELS <br />
The first and final levels might be the only ones that Alice visits “in order.” The first level might be the only one selectable when the game begins. ALL other levels might become selectable after the first is “completed.” The final level would only be selectable after all the other levels have been completed. <br />
<br />
The levels could be the principle repositories (representatives) of the traditional STAGES of grief—Denial, Anger& Guilt, Bargaining, Depression (Despair), and Acceptance. But the stage and the eponymous level are not synonymous. Alice might “find” Anger and/or Depression, for example, in the level whose emphasis (and “name?”) is Denial. Multiple stages might be represented/confronted but only tentatively resolved in single Level. The stages are “managed,” not really overcome. Alice might meet/express/expose DENIAL, which is usually considered to be the first stage of grief, in any Level. There is no linear progression through the stages—they are not stops on some linear timeline (of grief).<br />
<br />
<br />
<br />
<br />
<br />
The Levels might have names that suggest the STAGES <br />
No Noh (Denial). E.g., No is the answer to everything. No one “knows” anything. No help, no relief, no consolation or resolution) No Skill (Noh)<br />
Ire-Land (Anger)<br />
Golden Gilt (Bargaining)<br />
Tombstone (Depression)<br />
Resolution (Acceptance)<br />
<br />
FIRST LEVEL<br />
If she could only find the Cheshire Cat, she thinks, he might help her. He was mysterious, a little odd but not malignant on her youthful visits. He certainly knows things. He must still be somewhere in this altered landscape and he “likely” has more than information. When found, however he is more a Cheshire Kitten. He doesn’t, at this point, even know the value of what he knows. <br />
<br />
FINAL LEVEL<br />
The final level will need to accommodate/set up the Alice in AMA—including her state of mind, her maturity, her appearance, the “new” incarnation of Wonderland, her progress/her challenges—the “reasons” why she has to spend another 8 years at Rutledge. <br />
<br />
VICTORY<br />
What does victory look like? A win in Wonderland and/or a defeat in Rutledge. <br />
The final “victory” of ALICE: ASYLUM—all the battles won, enemies dispatched/neutralized/converted in game play notwithstanding—is that Alice is able to achieve an understanding/acceptance of her grief—its causes and its effects. This victory is obviously qualified, uncertain, elusive, and sad. But it is victory, and is the necessary condition of her returning to Wonderland (AMA), and handling its multiple changes, which are a function and result of her own changes. Victory in AMA, leads to her release from Rutledge, <br />
<br />
Accepting the hurt/damage/sadness of the loss DOES NOT MEAN—“achieving closure,” or “forgetting” or “coming to terms with” the loss. It DOES MEAN that the denial, anger, guilt, and depression that she feels—constantly but in no particular order—may ebb and flow, but may never disappear entirely.<br />
<br />
As Cat might say, for example: <br />
“You cope with grief. You do not conquer it.” <br />
“Depression is a condition. It is also an addiction.”<br />
“The fights you win in dreams are still victories”<br />
Alice says: “I suppose it depends on the fight.”<br />
Cat says: “I know it depends on the dream.”<br />
<br />
Alice finishes ALICE ASYLUM alone, lapses into self-induced coma. Need a motive for cat’s absence (and reappearance in a vastly different guise in AMA). Night be an “operative” McGuffin perhaps an ineffectual one—not the answer to Alice’s problems. Either way: She must heal herself. <br />
<br />
AMERICAN MCGEE’S ALICE<br />
September 7, 1873—1874<br />
After eight years of “slumber” she wakes, signals that she wants paper and pen and she draws “a cat”; after that, triggered by the Rabbit “repair”, she speaks (in rhyme). her first conventional speech in 10 years. Naturally, she’s matured physically, and It becomes clear that she has matured mentally as well. She has a more sophisticated sense of the world and her situation. Not necessarily comforted by her “understanding.” In fact, the world is more disturbing.<br />
<br />
She revisits (is driven back to) Wonderland; it has altered to reflect what she met, negotiated, and won in ALICE: ASYLUM. She finds cat “much changed.” Several locations, options, and characters have morphed again; others have disappeared. The Red Queen once again threatens murder, but Alice knows her game.<br />
<br />
Her return visits to Wonderland become comments and revelations as she continues to “talk” with Dr. Wilson. She’s most often cogent; but just as often in ways that make no sense to him. Fitful progress; Step forward—then three steps back. She has an alter ego that is at extreme variance with her actual self. But, through gameplay, he does see progress. He sees her gaining strength; resolution; purpose. He wants to help her leave Rutledge. She’s gaining on her neurosis, but, if he’s honest, she’s got a long way to go—and he might not make it to the finish line with her. Working her way through AMA, she thinks/feels she’s ready to live in the “real” world. She has learned that she must accept (own, as is frequently said today) her grief and it’s manifestations. Alice leaves Rutledge (not unharmed). Wonderland, its function, its presence, its appearance, its significance has changed forever. Layers of meaning, experience have been added to it. Layers have been lost. <br />
<br />
ALICE: MADNESS RETURNS (1875)<br />
In A:MR, a different set of feelings—powerful, traumatic, and deeply disturbing—are triggered by her memories. Her years of suffering—her mental anguish, her guilt, her denial—had to be endured, if not completely overcome, for her to find the truth of her tragedy and move on.<br />
<br />
<br />
Hatter doesn’t have the McGuffin. <br />
Either there is no McGuffin; or the McGuffin, like the Hatter, is ineffectual—not the answer to Alice’s problems. She must heal herself</div>Martinhttps://www.americanmcgee.com/asylumwiki/index.php?title=Story&diff=128Story2018-07-17T08:41:50Z<p>Martin: </p>
<hr />
<div>'''Alice Notes (From RJ Berg & American McGee Chats - July 17,2018)'''<br />
<br />
The Alice Trilogy<br />
<br />
* Chronology<br />
**Alice: Asylum 1863-73<br />
**AMA 1873-74—————rename this?<br />
**Alice: MR 1874-75<br />
<br />
'''1860-63'''<br />
<br />
:: Alice, a bright child with a susceptible imagination, “meets” Wonderland, an exciting refuge from her predictable, staid middle-class life in Oxford. She returns often because:<br />
<br />
:::: * It’s loaded with marvelous characters and exotic locations<br />
:::: * It’s safe. Though often threatened, she’s never physically harmed<br />
:::: * It’s filled with unique, but appealing physical and mental challenges<br />
<br />
:: Wonderland supplies:<br />
<br />
:::: *Vivid, high-wire (if juvenile) drama;<br />
:::: *Multiple brands of fun;<br />
:::: *Manageable fears, the overcoming of which build her confidence<br />
<br />
Likely that during 1860-63, as she ages, she’d find, on return “visits,” that some of the familiar, more fanciful Wonderland locations/options would have morphed slightly— others might have disappeared. Not all characters would survive her maturation; some would have changed roles/sides. Still, Wonderland is the refuge of choice as she enters adolescence.<br />
<br />
'''ALICE ASYLUM'''<br />
Story opens in the hospital (St. Bart’s)<br />
<br />
CINEMATIC<br />
Two doctors enter Alice’s room, approach her bed; she’s supine, motionless.<br />
Doctor, waving file, reviews the “facts” of her case. <br />
<br />
<br />
VERSION 1<br />
1: “Face it, Grantham; she’s virtually deaf, dumb, and blind.” <br />
2: “She survived the fire, Doctor, but her loss . . .<br />
1: “Her burns have healed; she’s been comatose for months.”<br />
2: “Silence is often the sign of suffering and trauma . . .<br />
1: “But what of insanity? She used to scream constantly—without cause, purpose, or result. Her mind is obviously gone. She registers no pain, no discomfort; apparently feels nothing; obviously hears nothing; and hasn’t opened her eyes in weeks. <br />
2: “She is damaged, Doctor. But she will heal. She just needs time.”<br />
1: She’s wasted enough of mine already. And yours. I’m sorry, Grantham, but your “therapies” are useless to her . . .and to you. They’re at odds with the hospital’s best practices and failure needlessly threatens your reputation. In my judgment it's time to shift her to a more appropriate facility—Bedlam or another asylum. As a simple matter of fact, better use could be made of her bed. Nothing more can be done for her here.”<br />
<br />
VERSION 2<br />
Doctor, St. Bart’s Managing Director, enters Alice’s room, approaches her bed; she’s supine, motionless. He’s angry, waves a file, and rants:<br />
“ You’ve made no progress Alice. You refuse to even try. Grantham was a good and decent man. And what did it get him? “Bedlam’s the place for you, Alice; you’ll fit right in with maniacs and hopeless reprobates warehoused there.” You’re a raving lunatic. Bart’s cannot cure your craziness. We certainly can’t afford it. Your money is exhausted. You refuse to improve. You ruined Grantham’s career and caused his demise. You won’t ruin mine. I’m a professional. I do not fail. Heal yourself, you wicked girl.”<br />
<br />
CINEMATIC<br />
As doctor(s)move out of the ward, camera shifts so we see their backs; as it closes-up on Alice’s face; her eyes open suddenly; her stare is not reassuring. She’s heard it all. FTB<br />
<br />
November 4, 1864<br />
CINEMATIC<br />
Nearly a year to the date of the fire, she is awake but, silent, uncommunicative. <br />
Two nurses, big winged hats, are beside Alice’s bed. Their conversation offers time, place, situation<br />
1: “She just stares. Matron says it’s a ‘psycolic breakdown’.” <br />
2: “Psychotic,’ I think! Like Dr. Grantham. Off his nut, he was.”<br />
1: “Matron says Alice is to blame.”<br />
2: “Drove him ‘round the bend’ no doubt.”<br />
1: “She’s been here a year; ‘exhausted our resources.’ Matron says. She’s to RUTLEDGE ASYLUM in a day or two.<br />
2: “Like to see the back of her, creepy little git.”<br />
<br />
They leave.<br />
<br />
Alice now THINKS she knows why Grantham, who was becoming deranged, has disappeared. She thinks Grantham lost the “battle for her sanity,” that having failed in his mission (to “cure” her) and “broken” his promise to her thereby, he’d killed himself. She sits up, bangs her head against the bedstead until she passes out.<br />
<br />
November 11 1864—April 1, 1865<br />
Alice (according to the Dr. Hieronymous Q.Wilson’s casebook to AMA,) arrived at Rutledge on a stretcher, her head encased in bandages. She’s had what he calls an “accident” at St. Bart’s. The action of ALICE ASYLUM takes place in this 6-month window.<br />
<br />
What didn’t travel with Alice’s file from St. Barts.<br />
Just because she didn’t talk didn’t mean she wasn’t listening<br />
She knows about the fire. Unresolved questions about her survival confound her<br />
She’s heard discussion about sending her to the infamous asylum, Bedlam.<br />
Dr. Grantham, distraught, is dead. Alice is beset by new grief; mourning her loss, the disappearance of her only friend/ally in the real world. Why? Did she cause him to “go”? Is it her fault? Did she not show improvement. Is constant, permanent loss and resulting sadness her fate? The minuscule chards of her stability disintegrate. She was nearly ready to seek refuge in her brain’s favorite place. She’s been reluctant to pollute her happy place with the toxic recollections of the fire and the death of Grantham.<br />
<br />
THE GAME<br />
Alice, nearly 13, musing in bed, talking to herself with things like<br />
“They must be gone; or they’d come to visit; on holiday without me.”<br />
“What’s wrong with me?” <br />
“Was the fire my fault?” <br />
“Who’s to blame—if not me?’<br />
“Did they save me and lose themselves”<br />
“Why did I survive?”<br />
“Did Dinah escape?”<br />
“Where is that Cheshire Cat?”<br />
“ If I could just . . .<br />
“If only . . . etc., etc.<br />
<br />
She alone survived the fire. But, she doesn’t quite believe it. “IT” is the fire, the death of her whole family, and her survival. <br />
<br />
In her fragile state, she’s wondered if/(pretended?) this is all a dream, a vivid nightmare. She’s hoped it. She’s invested in the dream. She’s wondered if she might create an alternative ending—so the dream might be easier to manage/cope with or just disappear. But she knows something is wrong. And often she has lucid visions of the horror. But one day, when she’s feeling (relatively)“strong,” she closes her eyes, to “sleep . . .perchance to dream”—and risks a retreat to her treasured Wonderland. <br />
<br />
She arrives. But, if not for a fleeting glimpse of a RABBIT, wherever it is she has “landed” would be unrecognizable. Wonderland the refuge, its familiar geography and topography, has been blown apart, fragmented like her mind. There’s nothing familiar, comforting, consoling, safe, or enjoyable about it.<br />
<br />
This Wonderland is a series of islands suspended in space—small planets in a sunless, starless galaxy. Her domestic tragedy seems to have triggered a cosmic event, a big bang. Wonderland has morphed into unstable and dangerous domains. The planets are in retrograde jetting away from a once benign core; lit by fire, nuclear fuel, coal, candles,, gas etc. Each planet (LEVEL) is uniquely symbolic; uniquely populated with familiar or vaguely reminiscent characters, decorated, and equipped with unique challenges, enemies, weapons, “toys,” etc. Each is primarily associated (not co-terminous) with a STAGE of Grief. Each could be associated with significant (if not always intelligible) astrological and alchemical signs, color schemes, nursery rhymes, obscure Victorian references and odd bits or popular culture.<br />
<br />
Alice perceives the likelihood of a link between her (certain though non-specific) damaged self and this strange version of Wonderland. To fix this alien, “broken” incarnation and return it to “normal,” she intuits, may help her help herself. But, like Humpty Dumpty after the fall, she can’t do it. It’s a fool’s errand (she’ll realize eventually). Doomed to failure. Not possible; not even desirable. Too much has changed. She’s lost too much. Still, her awareness of the enormity of the challenge, (and the impossibility of success as she defines it) won’t stop her from trying to reconstruct, cure, resurrect, overcome, etc., etc.<br />
<br />
LEVELS <br />
The first and final levels might be the only ones that Alice visits “in order.” The first level might be the only one selectable when the game begins. ALL other levels might become selectable after the first is “completed.” The final level would only be selectable after all the other levels have been completed. <br />
<br />
The levels could be the principle repositories (representatives) of the traditional STAGES of grief—Denial, Anger& Guilt, Bargaining, Depression (Despair), and Acceptance. But the stage and the eponymous level are not synonymous. Alice might “find” Anger and/or Depression, for example, in the level whose emphasis (and “name?”) is Denial. Multiple stages might be represented/confronted but only tentatively resolved in single Level. The stages are “managed,” not really overcome. Alice might meet/express/expose DENIAL, which is usually considered to be the first stage of grief, in any Level. There is no linear progression through the stages—they are not stops on some linear timeline (of grief).<br />
<br />
<br />
<br />
<br />
<br />
The Levels might have names that suggest the STAGES <br />
No Noh (Denial). E.g., No is the answer to everything. No one “knows” anything. No help, no relief, no consolation or resolution) No Skill (Noh)<br />
Ire-Land (Anger)<br />
Golden Gilt (Bargaining)<br />
Tombstone (Depression)<br />
Resolution (Acceptance)<br />
<br />
FIRST LEVEL<br />
If she could only find the Cheshire Cat, she thinks, he might help her. He was mysterious, a little odd but not malignant on her youthful visits. He certainly knows things. He must still be somewhere in this altered landscape and he “likely” has more than information. When found, however he is more a Cheshire Kitten. He doesn’t, at this point, even know the value of what he knows. <br />
<br />
FINAL LEVEL<br />
The final level will need to accommodate/set up the Alice in AMA—including her state of mind, her maturity, her appearance, the “new” incarnation of Wonderland, her progress/her challenges—the “reasons” why she has to spend another 8 years at Rutledge. <br />
<br />
VICTORY<br />
What does victory look like? A win in Wonderland and/or a defeat in Rutledge. <br />
The final “victory” of ALICE: ASYLUM—all the battles won, enemies dispatched/neutralized/converted in game play notwithstanding—is that Alice is able to achieve an understanding/acceptance of her grief—its causes and its effects. This victory is obviously qualified, uncertain, elusive, and sad. But it is victory, and is the necessary condition of her returning to Wonderland (AMA), and handling its multiple changes, which are a function and result of her own changes. Victory in AMA, leads to her release from Rutledge, <br />
<br />
Accepting the hurt/damage/sadness of the loss DOES NOT MEAN—“achieving closure,” or “forgetting” or “coming to terms with” the loss. It DOES MEAN that the denial, anger, guilt, and depression that she feels—constantly but in no particular order—may ebb and flow, but may never disappear entirely.<br />
<br />
As Cat might say, for example: <br />
“You cope with grief. You do not conquer it.” <br />
“Depression is a condition. It is also an addiction.”<br />
“The fights you win in dreams are still victories”<br />
Alice says: “I suppose it depends on the fight.”<br />
Cat says: “I know it depends on the dream.”<br />
<br />
Alice finishes ALICE ASYLUM alone, lapses into self-induced coma. Need a motive for cat’s absence (and reappearance in a vastly different guise in AMA). Night be an “operative” McGuffin perhaps an ineffectual one—not the answer to Alice’s problems. Either way: She must heal herself. <br />
<br />
AMERICAN MCGEE’S ALICE<br />
September 7, 1873—1874<br />
After eight years of “slumber” she wakes, signals that she wants paper and pen and she draws “a cat”; after that, triggered by the Rabbit “repair”, she speaks (in rhyme). her first conventional speech in 10 years. Naturally, she’s matured physically, and It becomes clear that she has matured mentally as well. She has a more sophisticated sense of the world and her situation. Not necessarily comforted by her “understanding.” In fact, the world is more disturbing.<br />
<br />
She revisits (is driven back to) Wonderland; it has altered to reflect what she met, negotiated, and won in ALICE: ASYLUM. She finds cat “much changed.” Several locations, options, and characters have morphed again; others have disappeared. The Red Queen once again threatens murder, but Alice knows her game.<br />
<br />
Her return visits to Wonderland become comments and revelations as she continues to “talk” with Dr. Wilson. She’s most often cogent; but just as often in ways that make no sense to him. Fitful progress; Step forward—then three steps back. She has an alter ego that is at extreme variance with her actual self. But, through gameplay, he does see progress. He sees her gaining strength; resolution; purpose. He wants to help her leave Rutledge. She’s gaining on her neurosis, but, if he’s honest, she’s got a long way to go—and he might not make it to the finish line with her. Working her way through AMA, she thinks/feels she’s ready to live in the “real” world. She has learned that she must accept (own, as is frequently said today) her grief and it’s manifestations. Alice leaves Rutledge (not unharmed). Wonderland, its function, its presence, its appearance, its significance has changed forever. Layers of meaning, experience have been added to it. Layers have been lost. <br />
<br />
ALICE: MADNESS RETURNS (1875)<br />
In A:MR, a different set of feelings—powerful, traumatic, and deeply disturbing—are triggered by her memories. Her years of suffering—her mental anguish, her guilt, her denial—had to be endured, if not completely overcome, for her to find the truth of her tragedy and move on.<br />
<br />
<br />
Hatter doesn’t have the McGuffin. <br />
Either there is no McGuffin; or the McGuffin, like the Hatter, is ineffectual—not the answer to Alice’s problems. She must heal herself</div>Martinhttps://www.americanmcgee.com/asylumwiki/index.php?title=Live_Streams&diff=119Live Streams2018-07-15T00:44:44Z<p>Martin: Created page with " {| class="wikitable sortable" |- ! Title ! Date ! Link ! Description |- | Asylum: Dressed in Denial - Alice and The Alchemist's Tailor | July 13, 2018 | https://www.youtube.c..."</p>
<hr />
<div><br />
{| class="wikitable sortable"<br />
|-<br />
! Title<br />
! Date<br />
! Link<br />
! Description<br />
|-<br />
| Asylum: Dressed in Denial - Alice and The Alchemist's Tailor<br />
| July 13, 2018<br />
| https://www.youtube.com/watch?v=KtkQC8L-HjM<br />
| American and Martin continue their quest through the lava fields and bottomless pits of "American McGee's Alice" while musing on the insanity of fashion - or fashion for the insane. Get it straight or you'll wear a jacket. Oh, and it's a Friday the 13th stream (at least where we are)! In this stream we'll continue to discuss Alice's new wardrobe of dresses and the progress being made on Asylum. Also updates on Out of the Woods and shipping things from China. Yay!<br />
|-<br />
| Alice: Asylum - The Guilt Dress and the Fashion Alchemist<br />
| July 5, 2018<br />
| https://www.youtube.com/watch?v=vZsIEIjuT6Y<br />
| American and Martin are back with another batch of new art, design, and narrative from Alice: Asylum. We'll take a look at the new Guilt Dress and discuss a potential redesign of the original Blue Dress. We'll also respond to your Patron questions and comments while American flails, falls, and dies his way through "Alice" with Lulu by his side. Yay!<br />
|-<br />
| Alice: Asylum from the Underground Lair <br />
| June 28, 2018<br />
| https://www.youtube.com/watch?v=f8C-kgRhkXg<br />
| American and Martin are back with the first ever broadcast from the underground lair. We'll continue our play through of "American McGee's Alice" while discussing the progress being made on the PPT for Alice: Asylum.<br />
|-<br />
| Alice: Asylum - Final Stream from the Old Ward <br />
| June 21, 2018<br />
| https://www.youtube.com/watch?v=NjgXOYqsShg<br />
| American and Martin are back with a final stream from the old studio in the center of Shanghai. We'll review artwork from Joey, Alex, and Omri. A new version of the License PPT will be browsed. And we'll enjoy the soothing sounds of American falling repeatedly to his death in "American McGee's Much Falling Death Very Alice Game" - Yay! <br />
|-<br />
| Alice: Tweedles in the Asylum - Flee and RUN! <br />
| June 7, 2018<br />
| https://www.youtube.com/watch?v=vWMcCQOEQfE<br />
| American and Martin are back for more of your favorite falling-dying adventure game "American McGee's Alice." We'll discuss progress on Alice: Asylum, watch American fall repeatedly to his death, talk about "Out of the Woods," and... prizes? Lulu? <br />
|-<br />
| Alice: Asylum Presentation Review (EU Edition)<br />
| May 30, 2018<br />
| https://www.youtube.com/watch?v=Fyb0ZPtX0mo<br />
| American and Martin host a special EU time-zone live steam where the Alice: Asylum PPT in near-final format will be reviewed in real-time. We'll talk about the Asylum pitch, use of the license, overall goals for the Asylum enterprise, and more. This is your chance to provide feedback to the team and have your voice heard. <br />
|-<br />
| American McGee's "All Paths Lead to Death" Alice<br />
| May 25, 2018<br />
| https://www.youtube.com/watch?v=Fyb0ZPtX0mo<br />
| American continues to stumble around, get lost, and die repeatedly in his own creation while Martin questions his ongoing association with someone who clearly CAN'T GAME. Meanwhile the two discuss progress on Alice: Asylum pre-production and Out of the Woods production. Lulu chews on a bone and pretends not to understand what's going on. Oh, and prizes. There will be prizes.<br />
|}<br />
<br />
[[Main Page|'''<<<Back''']]</div>Martinhttps://www.americanmcgee.com/asylumwiki/index.php?title=Main_Page&diff=118Main Page2018-07-15T00:44:27Z<p>Martin: </p>
<hr />
<div><center>[[File:Construction.png]]</center><br />
<center>[[File:Header.jpg]]</center><br />
<center><span style="color:#ff0000">'''All ideas, art, suggestions and other content is not guaranteed to make it into the final product'''</span></center><br />
<br />
<br />
== Alice: Asylum ==<br />
<br />
* [[Story|'''Story''']]<br />
* [[Characters|'''Characters''']]<br />
* [[Gameplay|'''Gameplay''']]<br />
* [[Weapons|'''Weapons''']]<br />
* [[Dresses|'''Dresses''']]<br />
* [[Difficulty|'''Difficulty''']]<br />
* [[Puzzles|'''Puzzles''']]<br />
* [[Audio|'''Audio''']]<br />
* [[Community Ideas|'''Community Ideas/Suggestions''']]<br />
<br />
== Community Involvement ==<br />
<br />
<br />
* [[Live Streams|'''Live Streams''']]<br />
<br />
<br />
<br />
<strong>MediaWiki has been successfully installed.</strong><br />
<br />
Consult the [//meta.wikimedia.org/wiki/Help:Contents User's Guide] for information on using the wiki software.<br />
<br />
== Getting started ==<br />
* [//www.mediawiki.org/wiki/Special:MyLanguage/Manual:Configuration_settings Configuration settings list]<br />
* [//www.mediawiki.org/wiki/Special:MyLanguage/Manual:FAQ MediaWiki FAQ]<br />
* [https://lists.wikimedia.org/mailman/listinfo/mediawiki-announce MediaWiki release mailing list]<br />
* [//www.mediawiki.org/wiki/Special:MyLanguage/Localisation#Translation_resources Localise MediaWiki for your language]<br />
[[testing|'''testing''']]</div>Martinhttps://www.americanmcgee.com/asylumwiki/index.php?title=Chaos_Coins&diff=99Chaos Coins2018-07-12T01:33:44Z<p>Martin: </p>
<hr />
<div>'''Description'''<br />
<br />
Chaos Coins are in-game collectible items linked to real world physical coins. Physical coins will be distributed to fans via [https://www.patreon.com/americanmcgee Patreon], [https://mysterious.americanmcgee.com/ Mysterious], Crowd Funding, and other channels. Ownership of a physical coin grants the holder a virtual coin in-game. The in-game coin will contain an owner-defined NAME and MESSAGE. <br />
<br />
''NAME and MESSAGE constraints to be defined.''<br />
<br />
'''Goals'''<br />
<br />
- having them in-game without pulling the player out of their gaming experience.<br />
- and also giving prominence to the fans and their “ownership” of the coins in-game.<br />
<br />
'''Coin Ledger'''<br />
<br />
The coin information, would be stored in a “coin ledger”. This ledger, would be obtained early in-game, and would serve as a tracker of sorts that listed:<br />
<br />
- Coin total in each chapter<br />
- how many coins have been collected<br />
- how many remained per area.<br />
<br />
'''Notes'''<br />
<br />
''A really good way of keeping tabs on & displaying collectibles was in Super Mario Odyssey with its “power moons”.''<br />
<br />
<br />
[[File:ChaosCoin-UI1.jpg]]<br />
<br />
<br />
[[File:ChaosCoin-UI2.jpg]]<br />
<br />
[[gameplay|'''<<<Back''']]</div>Martinhttps://www.americanmcgee.com/asylumwiki/index.php?title=Chaos_Coins&diff=98Chaos Coins2018-07-12T01:33:04Z<p>Martin: </p>
<hr />
<div>'''Description'''<br />
<br />
Chaos Coins are in-game collectible items linked to real world physical coins. Physical coins will be distributed to fans via [https://www.patreon.com/americanmcgee Patreon], [https://mysterious.americanmcgee.com/ Mysterious], Crowd Funding, and other channels. Ownership of a physical coin grants the holder a virtual coin in-game. The in-game coin will contain an owner-defined NAME and MESSAGE. <br />
<br />
''NAME and MESSAGE constraints to be defined.''<br />
<br />
'''Goals'''<br />
<br />
- having them in-game without pulling the player out of their gaming experience.<br />
- and also giving prominence to the fans and their “ownership” of the coins in-game.<br />
<br />
'''Coin Ledger'''<br />
<br />
The coin information, would be stored in a “coin ledger”. This ledger, would be obtained early in-game, and would serve as a tracker of sorts that listed:<br />
<br />
- Coin total in each chapter<br />
- how many coins have been collected<br />
- how many remained per area.<br />
<br />
'''Notes'''<br />
<br />
''A really good way of keeping tabs on & displaying collectibles was in Super Mario Odyssey with its “power moons”.''<br />
<br />
<br />
[[File:ChaosCoin-UI1.jpg]]<br />
<br />
<br />
[[File:ChaosCoin-UI2.jpg]]<br />
<br />
[[chaos coins|'''<<<Back''']]</div>Martinhttps://www.americanmcgee.com/asylumwiki/index.php?title=Gameplay&diff=97Gameplay2018-07-12T01:32:36Z<p>Martin: </p>
<hr />
<div>[[Chaos Coins]]<br />
<br />
<br />
[[Main Page|'''<<<Back''']]</div>Martinhttps://www.americanmcgee.com/asylumwiki/index.php?title=Puzzles&diff=94Puzzles2018-07-10T08:27:03Z<p>Martin: </p>
<hr />
<div>The original Alice games relied heavily on puzzles. <br />
<br />
Alice Aslum will be no different. Expect to see puzzles “boxes” as a part of<br />
level design – sprinkled throughout Wonderland.<br />
<br />
Alice Asylum will contain a wide range of ''puzzles'': verbal, auditory, visual, physical, and "other".<br />
A sample of topics we might want to explore for puzzle foundation are:<br />
<br />
* Spatial Skill<br />
* Logical<br />
* Short Term Memory<br />
* Rote Utilisation<br />
* General Knowledge<br />
* Visual Apprehension<br />
* Geometric<br />
<br />
<center>[[File:puzz1.jpg]]</center><br />
<br/><br />
There will also be varied puzzle types based around some of Alice's abilities in Asylum. Such as:<br />
<br />
* Floating<br />
* Push/Pull<br />
* Shrink/Grow<br />
* Stealth<br />
* Time Manipulation<br />
* Climbing/Jumping<br />
* Swimming<br />
<center>[[File:puzz2.jpg]]</center><br />
<br/><br />
<center>[[File:puzz3.jpg]]</center><br />
<br />
[[Main Page|'''<<<Back''']]</div>Martinhttps://www.americanmcgee.com/asylumwiki/index.php?title=Carpenter&diff=93Carpenter2018-07-10T08:25:35Z<p>Martin: Created page with "== '''The Carpenter''' == File:carpenter.jpg The Carpenter was a resident of Wonderland and a flamboyant stage director of the Dreary Lane Theatre in the Deluded Depths...."</p>
<hr />
<div>== '''The Carpenter''' ==<br />
<br />
[[File:carpenter.jpg]]<br />
<br />
The Carpenter was a resident of Wonderland and a flamboyant stage director of the Dreary Lane Theatre in the Deluded Depths. <br />
<br />
With Alice Liddell's fall into insanity, he becomes a corrupted rendition of his former self.<br />
<br />
[[characters|'''<<<Back''']]</div>Martinhttps://www.americanmcgee.com/asylumwiki/index.php?title=File:Carpenter.jpg&diff=92File:Carpenter.jpg2018-07-10T08:24:51Z<p>Martin: </p>
<hr />
<div></div>Martinhttps://www.americanmcgee.com/asylumwiki/index.php?title=White_King&diff=91White King2018-07-10T08:20:50Z<p>Martin: Created page with "== '''The White King''' == File:whiteking.jpg The White King was the ruler of the White Castle in the Pale Realm, alongside his queen. A year after Alice Liddell's vic..."</p>
<hr />
<div>== '''The White King''' ==<br />
<br />
[[File:whiteking.jpg]]<br />
<br />
The White King was the ruler of the White Castle in the Pale Realm, alongside his queen. <br />
<br />
A year after Alice Liddell's victory over the Queen of Hearts, he was restrained to the door of the Heart Palace and the only way for Alice to pass through was to kill him. He had already accepted his fate and warned her about the Executioner before he was destroyed.<br />
<br />
[[characters|'''<<<Back''']]</div>Martinhttps://www.americanmcgee.com/asylumwiki/index.php?title=File:Whiteking.jpg&diff=90File:Whiteking.jpg2018-07-10T08:20:48Z<p>Martin: </p>
<hr />
<div></div>Martinhttps://www.americanmcgee.com/asylumwiki/index.php?title=Red_Queen&diff=89Red Queen2018-07-10T05:18:32Z<p>Martin: </p>
<hr />
<div>== '''The Red Queen''' ==<br />
<br />
[[File:redqueen.jpg]]<br />
<br />
A strong “force” in Wonderland, with her psycho pathologically-sized desires for unquestioned authority and adherence to her rules. <br />
She is power-mad, irrational, and an irresponsible hypocrite. <br />
<br />
She represents the worst elements in persons who can’t function without controlling their environments and all those around them. <br />
But she’s part of Alice, too, and not destructible for cause.<br />
<br />
[[characters|'''<<<Back''']]</div>Martinhttps://www.americanmcgee.com/asylumwiki/index.php?title=Red_Queen&diff=88Red Queen2018-07-10T05:18:10Z<p>Martin: Created page with "== '''The Red Queen''' == File:redqueen.jpg A strong “force” in Wonderland, with her psycho pathologically-sized desires for unquestioned authority and adherence to..."</p>
<hr />
<div>== '''The Red Queen''' ==<br />
<br />
[[File:redqueen.jpg]]<br />
<br />
A strong “force” in Wonderland, with her psycho pathologically-sized desires for unquestioned authority and adherence to her rules. <br />
She is power-mad, irrational, and irresponsible hypocrite. <br />
<br />
She represents the worst elements in persons who can’t function without controlling their environments and all those around them. <br />
But she’s part of Alice, too, and not destructible for cause.<br />
<br />
[[characters|'''<<<Back''']]</div>Martinhttps://www.americanmcgee.com/asylumwiki/index.php?title=File:Redqueen.jpg&diff=87File:Redqueen.jpg2018-07-10T05:18:01Z<p>Martin: </p>
<hr />
<div></div>Martin