Up cloth - GameDesignDoccument

Team
Arbaux Eléonore
Secher Romain
Hubert Lucas
Ziakovic Theo
Artistic Direction
Graphist
Animation
Sound Design
Level Design
Programer
Integration
Project Lead
Game Design & Documents
Assets 2D
Graphism Integration

10
In Up Cloth, the avatar’s player is a young girl living in a
torn up world entierly made of fabric, The Tapestries. He’ll
have to solve the puzzles of the different canvas, sewing the
world back together one tapestry after another.
Thanks to his needle, he’ll have to discover his potential and
the actions he can use to modify the world he’s evolving
into (moving blocs or entire parts of the level, lifting him-
self up, going down a thread used as a rope, stoping objects
in motion...) in different themed canvas.
Based on reflexion and observasion, the game is cut in dif-
ferent phases of navigation, exploration and manipulation.
Fix the Tapestries composing your world. Sew them back
together, unravelling the mysteries of the cloth you’re
evolving into.
Pitch High Concept

11
The main intention in Up Cloth is to allow the player to
solve a contemplative 2D Puzzle Game, basically fixing up
the world he is evolving in.
We want the actions of the player to have a real impact on
the canvas he managed to solve, bringing back life in these
places. More than a feeling of power (Given by the fact that
he can bend the universe to his will), we want to feel like
a healer, someone that is protecting and helping, which is
what our mecanic revolve around.
One other thing is the universe itself, composed entirely
out of fabric, and the graphic and acoustic moods, unique
in each main sections of Tapestries.
In Up Cloth, the experience is axed quite hard on the Mim-
icry aspect of Callois’ game classification, and the experi-
ence we want to give the player is based and empowered by
that fact.
As stated in the Experience Intentions, we wanted to give
the player the feeling that he is healing, fixing the world.
And his ability and goal is basically this, making his inten-
tions meet the avatar’s intentions.
Experience intentions Caillois and Up Cloth
Player Experience
Experience intentions

12
Player Experience
Up Cloth’s levels are short and the high scores, separated
for each level, are based on the time the player used to get to
the end. The optional collectible and the Gallery system are
also a great way to reward Achiever players, as they have a
concrete way to measure their skills and complete the game
with more than just ending all levels.
With our universe and mecanic, it is easy to hide stuff, may
it be optional collectibles or interractions. If the Gallery is
a way to prove that you achieved something some players
won’t bother doing, it is also a way to observe the world the
player is evolving into. Those features are a lot turned to
Explorers player, which have a rich world to discover and
aprehand.
Acting
Interacting
Players
World
Bartle’s Taxonomy
AchieversKillers
Socializers Explorers

13
Up Cloth is a 2D Puzzle, single player game most suited
for Explorers and Achievers. The levels are shorts and op-
timised for game sessions ranging from 3 to 10 minutes at
most.
Though controls are, for now, more suited for PC controls,
the game itself would fit best on a mobile device such as an
Androïd phone or a tablet, which would make the best use
of short game sessions and the sewing gameplay.
The game having a contemplative and calm Artistic Di-
rection, and given what have been said on the above state-
ments, the core audience we could target would range from
12 to 30 years old, and can be extended to 8 to 35 easily.
Due to the current state of the game devellopement, we
can’t comercialize it for now, as we would need more levels,
gameplay and polish. The presented sample is a prototype
used for presentation.
• Type : 2D Puzzle Game
• Mode : Singleplayer
• Plateform(s) : PC, iPhone/Androïd
• Game Engine : Unity
Overview Target

17
When the player launches the game, he starts on the Title
Screen. Only the Title can be see here and, beside pressing
Escape which will leave the game, whatever action the play-
er takes leads him to the Main Menu. There, the player has
more choices as where to go.
- One button to go to the Level Selection Menu.
- One button to go to the Options pannel
- One button to go to the Gallery
- One button to go to the Credits
- Pressing Escape Or the associated button will
bring him back to the Title Screen.
Flowchart
The player is presented to big pannels representing a theme
each. When clicking on one of the pannel he is then taken
to the Level selection of said Pannel.
In the gallery the player will be able to see the pannels of
the levels he completed 100%. Each pannel in the Gallery
is unique and associated with a level. On clicking on one of
those pannel, the associated level is launched in it’s graphic
completed state but with the challenges reseted.
On this pannel the player can set diverse options for the
game. Brightness, Music and Sound volume, contrast...
The credits are a single page with the names of the team and
people that have helped us in any way since the begining of
this project.
Level Selection
Gallery
Options
Credits

18
During the game, the player has differents Victory Terms
on short, middle and long term.
Victory terms
Short term victory is simply completing a level. To do that
the player must fix the whole Tapestry by sewing the miss-
ing part in place.
Additional short term goals are, for exemple, to unlock a
Tapestry’s Pannel or to finish the level under a set amount
of time.
Up Cloth’s levels are divided in HUBs, each of one repre-
senting one theme (Autumn for exemple). A Middle Term
victory would be to complete one of those HUB or to get all
Pannels of this HUB’s Levels.
Short Term
Middle Term

19
There is no death in Up Cloth, at least for now. The only
ways for a player to fail a level are to block the solution with
his ability to sew or to just fail to understand how he is sup-
posed to advance.
The first part is not to important since the player can reset
the level anytime he wants to. The second part is a bit more
tricky and we though about including a usable clue to un-
lock the player. This feature is yet to be implemented.
Defeat
Each level of victory term stated on this page is linked to
the one before it. The player has to finish each level of a
HUB to finish it and unlock the next HUB and so forth
until they finish the scenaristic part of the game.
Same goes for a 100% completion of the game, where the
player will have to finish each level under a certain Par and
to unlock each Pannel of said Level.
Victory terms
Long term include, obviously, finishing the game. But it
would also include getting all Pannels of all Levels in the
game and finishing every Level under the time goal set by
us.
Long Term

20
Game Elements
The Background is not an interactive element. Yet it is im-
portant for us to design the experience of a single level and
implement it in a Pannel of levels.
The Background is where we’ll define exactly the place
where the player is moving and what he is fixing, along with
the Main Level.
It is also the place where we can tie the current level with
the other that are in the same Pannel, with the theme of the
Background, the colors, eventually putting previous levels
somewhere in this background, etc.
The Background has a slight moving effect to give the sen-
sation of a fabric being moved by the wind.
The Main Level is the place where the player is moving. It is
the structure of the gameplay elements. Its shape and tex-
tures are here to support the scenery set by the Background
and all gameplay elements are considered within it. The
blocks composing the Main Level are fixed and can’t move.
Kinematic blocks are all the fabrics that the player can in-
teract with and that will have a change in motion if he does
so. Movable block, rotatives objects...
They are the base of our gameplay and the main tool for the
player to complete the levels he plays.
The Optional collectibles are, for now, buttons. Getting all
the optional collectibles by level (3 for each level) will un-
lock the Pannel of this level in the Gallery. They are hidden
in the level and some optional interactions might be need-
ed to get them.
BackGround
Main Level
Kinematic Blocks
Optional Collectible

21
Up Cloth’s Gameplay is built around navigating inside and
modifying a 2D World.
Gameplay
Low level Objective :
Observe the level to spot where to go and/or what to do.
Input :
Mouse wheel or pinch (On tablet and Androïd) to augment
the field of view of the Camera.
Skills involved :
Observation & Comprehension : The player has to observe
the level and different ways to move around to plan his way
and reach the level’s objectives. The atomic parameters are :
- Number of elements present in the level
- Lisisbility of the level’s elements
- Spot the important places
- The level’s evolution
Memory : The player has to remember the level’s layout that
he saw on the global view and orient himself accordingly.
Atomic Parameters for this part are :
- Presence and number of landmarks
Spot the way

22
Gameplay
Move toward a set objective.
Input :
[ZQSD]
Skills involved :
Observation : The player has to observe his environement
and take in count the different gameplay elements and
paths that are offered to him.
Deduction : The player has to identify the different steps for
him to move to the objective by thinking ahead of the level
evolution and layout.
Memorisation : Once the path chosen by the player he has
to remember the steps he has to take to get where he wants
to.
Change the position of an object to open a new path.
Input :
Mouse click/single touch (Tablet & Androïd) to select
points. Drag to shorten the string.
Skills involved :
Observation : The player has to observe the level to spot the
blocks that he can and cannot move.
Deduction : most of the blocks the player has to move (Not
all of them though) have a set point where they have to go.
Once he has spoted which block the player can move he
then have to find where to put it to help him advance in the
level.
Navigation : To sew two blocks together the player has to
put at least one point on each of the blocks and so has to
move from one to the other.
Navigate the Level Move a block around

23
Gameplay
Stop the motion of a rotative object.
Input :
Mouse click/single touch (Tablet & Androïd) to select
points.
Skills involved :
Observation : The player has to observe the level to spot the
blocks that he want to stop and a place to fix it to.
Deduction : Stoping an object from moving can and will
have consequences. Depending on the object the player has
to guess what the consequence(s) will be once the object is
stopped.
Precision : The player might have to stop the object on a
specific area to use it afterward and, as such, he’ll have to
time the moment he sews it to an imovable object.
Navigation : To sew two blocks together the player has to
put at least one point on each of the blocks and so has to
move from one to the other.
Block a rotating object

24
Motivation
How to get the player to keep playing, may it be during
or after the game, is a crucial point of develloping a game.
Knowing this, we tried to implement different levers to
keep the motivation of the player up.
Each level has a high score (the time the level took to com-
plete) setted by the player if he finished the level at least
once. Beating this high score triggers a graphic and acous-
tic reward and sets the new high score.
Additionally, the dev team has set scores to set goals for the
player, corresponding to a medal system.
Finishing a level unlocks the next level and finishing the
HUB unlocks the next HUB.
The player gets a graphic and acoustic Reward on level and
HUB completion, in addition to seeing the level/HUB un-
locked on the Level Selection screen.
Each level have X optional collectibles hidden either some-
where the player doesn’t have to go to or needing an op-
tional interraction that unlock the Collectible. Those Col-
lectibles, once collected, unlock the Level’s Pannel in the
Gallery.
Motivation Levers
High Scores
Content Unlock
Optional Collectibles

25
Motivation
Up Cloth is a game which motivation is based on Reward. What keep the player going is the discovery of new canvas, new mecanics, new
moods, as well as the progression of the story.
Motivation Loop

26
Up Cloth’s Character is Camille, a young girl. She’s beetween 10 and 12
years old and has a running imagination. For now at least, Camille has
no other place outside the Lore, but we want to make her a narrative
element.
The avatar the player is controlling is her projection on the tapestries
she is sewing. Just like the Human, the avatar is named Camille.
The avatar walk in 2 directions (Left and Right) and jump to move
around. Her main capacity is to use the needle she carries around, al-
lowing her to modify the world she’s evolving in by sewing fabric pieces
together. The avatar can also collect the collectibles present in the levels.
For informations about how the avatar looks, see the Research docu-
ment.
3Cs - Character

27
3Cs - Controls
Given the constraints we had during this devellopement we chose to use mainly mouse and keyboard controls, the mouse being almost man-
datory to set the sewing points. What we would want, though, is to devellop this game on Androïd/iPhone and tablets, the controls being, in
our opinion, more suited for a game like Up Cloth.
Single tap on a place to go there, tap and drag to sew things together, two fingers going away from each other to zoom out... The feeling would
be, in our opinion, much more pleasant.
Movement Set sewing point
SewJump

28
Up Cloth’s camera is a 2D orthographic point of view. We
chose this vision to keep the fabric idea, being that it is a 2D
space evolving in a 3D world.
The camera is slightly tilted (Less than 30°) which is a tech-
nical constraint given by the shader used to make the back-
ground and game element move (To give a effect of fabric
moving to the wind), which can’t be seen by watching the
elements head on on an orthographic camera.
We used some post process effects, such as a vignette and
some color effect to give a sensation closer to what we want-
ed for Up Cloth.
The camera is set to follow the player’s movement and keep
close landmark on the screen. There is, though, a slight lerp
on the movement of the camera, to accentuate the move-
ment.
3Cs - Camera

29
HUD & Menu
We tried to keep the HUD as light as we could. Since the
player doesn’t have the use of a life or energy bar, the only
element we needed to show was the range at which the
player could put a point on an object.
We chose to render it as a stitches circle around the player,
to avoid it being brutal on the player’s view, since we don’t
want it drawing to much attention.
Our menus are made to stay simple enought for under-
standing. We tried to stay within simple shapes, mostly rec-
tangles and squares (To mimic fabric pieces).
As for the color we stuck to the theme of the first HUB of
level, that we’re showing in this presentation, being the Au-
tumn.
Moreover we differentiate the blocks that compose the
menus with fabric patterns and colors, so that it will stay
easy to read.
HUD Menu

38
Up Cloth’s levels are a core part of what the game is. Limit-
ed by it’s mecanic, the avatar has the power to arrange the
game space and, even with the limitation that we have set,
the player needs to feel like he can modify the level at will.
It is to be noted, though, that the players actions are for now
at least not reversible. A link formed beetween two objects
can’t be broken, which is why we’re making our level short,
so that the player can restart (In a Super Meat Boy fashion
where a failure is no big deal cause you can restart and go
back to where you were quite quickly.)
As the prototype is now, we have two mecanics that we need
to think of while planing our Level Design, as they impact
how the player can navigate the level.
Introduction Mecanics
The ability to sew block is our main mecanic. It is used
mainly to move a block and fix it in the wanted zone, which
can create either an obstacle, a plateform to step on or just
complete an element that was torn.
A block having a motion can be stoped by sewing it to a
static object. It can be used contextually or in the same goal
as before to put a block where the player want it to be to
advance in the level.
Moving a Block
Stoping a Block

39
The levels of Up Cloth are divided in different HUBs, each
one having it’s own theme and in which we can introduce a
new mecanic under the form of a new character (In addi-
tion to the Main Avatar). For exemple we thought about a
Cut mecanic introduced via a Crow, to give the player the
ability to undo the stitches he has done.
The Theme of each HUB has to appear in all the levels of
said HUB and, if the HUB introcues a mecanic, said me-
canic is core in the Level Design of the levels presented.
Astheplayerprogressinalevel,heseesthecanvasmoreclearly
ateachstephetakestosolvethelevel,thisisawaytoshowhim
therightpathtocompletealevelandaprogressionindicator.
Each resolved canvas will be a narrative piece of Camille’s
story, a narrative incentive that will push the player to play
in order to unravel the full story.
General Intentions Game’s Structure
The player has access to different levels which can be ac-
cessed in the linked HUB, by simple click.
The player can play any level he has completed but the lev-
els are numbered and he can’t access level n°3 before doing
level n°2.
Each HUB contains 10 levels and has a theme that is pres-
ent in all the levels of the HUB. Additionally, each level is
the equivalent of a story that Camille is telling herself.
Completing a HUB changes the color layout of the Menus
according to the theme of the next HUB.
Level Selection

40
Game’s Structure
Navigation Loop

41
Some parameters can help us manage difficulty within our
levels.
- Number of challenges
- Lisibility & Comprehension
- Distance with element of resolution
- Element inherent to the level
The last element is, basically, if there is something special
about the level itself (Like changing lights or a new ability)
Difficulty Management

46
What we want to achieve with Up Cloth, our main inten-
tion, is to give the players a 2D contemplative Puzzle Game
with a solid narration and Artistic Direction. We tried to
create a universe for him to discover through the narration
of Camille and our Level Design oriented by the themes of
the different HUBs.
Each theme brings a new component of the game experi-
ence and we have to include that element when thinking
about the narration and the level design. For exemple in the
presented theme, Autumn, we will use colors and asset that
stick with this theme (Oranges, reds, falling leaves...) but
for a theme such as winter the colors would be much more
colder and the leaves would be snowflakes.
The presentation theme we chose is Autumn. As such we
had to think about what represent Autumn and think our
level design accordingly.
The colors we used are a set pannel of colors counting 3
reds, 2 oranges, 2 yellows and 1 brown. Since we chose to
represent an environement beetween a forest and a moun-
tain (In small levels representing floating islands) those 8
colors are used quite a bit.
As for the elements we chose to integrate, fallings leaves
and trees are our main decoration elements, even though
we tried to keep each level unique (Like the second one,
with the windmill)
Intentions

47
In Up Cloth, the experience is axed quite hard on the Mim-
icry aspect of Callois’ game classification, and the experi-
ence we want to give the player is based and empowered by
that fact.
As stated in the Experience Intentions, we wanted to give
the player the feeling that he is healing, fixing the world.
And his ability and goal is basically this, making his inten-
tions meet the avatar’s intentions.
Up Cloth & Caillois
Up Cloth’s levels are short and the high scores, separated
for each level, are based on the time the player used to get to
the end. The optional collectible and the Gallery system are
also a great way to reward Achiever players, as they have a
concrete way to measure their skills and complete the game
with more than just ending all levels.
With our universe and mecanic, it is easy to hide stuff, may
it be optional collectibles or interractions. If the Gallery is
a way to prove that you achieved something some players
won’t bother doing, it is also a way to observe the world the
player is evolving into. Those features are a lot turned to
Explorers player, which have a rich world to discover and
aprehand.
Bartle’s Taxonomy

50
The narration is not yet implemented and the following
paragraph is what we believe would suit best our game. It is
subject to modification.
The narration of Up Cloth is based on Bastion’s narration. A
narrator (Here Camille telling her stories) has a few script-
ed lines that pops up given certain conditions :
- Action from the player
- Reaching a point in space
- Ending a level
We want to keep the narration light, but serving the expe-
rience by telling a story and the commentaries of Camille
must keep this “storytelling” (Begining of the story with
“Once Upon A Time”...).
The stories are the one of a little girl and should be written
as such. No need for complicated plotline. Childish inno-
cence can be a plus but don’t force it too much.
The main voice is Camille’s but some other character might
have their own voice (Such as Camille’s Grandma)
The universe of Up Cloth is the story a little girl, Camille)
is telling herself while she plays with sheets of fabric. Each
tapestry is a chapter and each HUB is a complete story from
the little girl.
The avatar is Camille’s projection, a character she imagined
and wich is named Camille as well. Every character that the
player might meet in this world is from Camille’s imagina-
tion ad some of those are people that Camille knows and
play with (Mother, father, grand-mother, friend...)
Overview Narration

51
Artistic Direction
Our artistic direction is revolving around the toy gameplay
we chose to use, said gameplay being, first the fact that fab-
ric is a toy by itself, second being sewing.
We then have our first axes of Artistic Directon : The world
is made of fabric. All level design elements are blocks of
fabric of different patterns and material.
The main advantage of this approach is the fact that once
we made a library of patterns, we only had to iterate on the
colors and reuse said patterns to bring variety to our world,
which allowed us to produce levels quite fast.
The second axis is all that revolve around sewing. Buttons,
stitches... Some of those elements are used only in a graphic
way, other, such as the stitches, are here to tell the player
something (For exemple the stitches tell the player a block
is static and won’t move.)
The colors we used are linked to the theme of the HUB. For
this presentation, the theme we chose was Autumn, and as
such the color used are revolving around that theme.
Intentions

52
Artistic Direction
Up Cloth’s Logo is made of two things.
First the use of a patchwork of fabric with the use of a nee-
dle and a button to form the title. We chose this approach to
simply tease the mecanic and universe before even entering
the game.
Second thing to note are the colors. We chose to use the
colors of the first and presented HUB. Other variations of
the title (Made to fit other themes) could be easily obtained
by changing the color library used for the title.
The Logo itself is simply a yellow button, similar to the one
used in the Title. A button is quite representative of our
game, being something that everyone know and associate
with clothes and/or fabric. Moreover a button is quite of-
tenly used by sewing it to a piece of fabric.
Title Screen / Logo

53
Artistic Direction
The avatar is a projection of Camille’s imagination that the
player controls. Wearing female clothes and pastel colors,
said avatar is named Camille too (Children projecting their
imaginary chose either to imaginethemselves or an imagi-
nary friend in their fantasies.)
Camille (The avatar) is quite small in size. Smaller than the
background she’s evolving into (CWhich is already small,
given that you can see the fabric’s patterns) she has various
accessories to like her further in the Artistic direction and
remember her as a dressmaker. Indeed, the tape measure
used as a belt and buttons and pins seens on her hair and
dress are tools often used in fabric work.
To accentuate the impression of her being really small
and once again recall that she’s a dressmaker, as well as for
showing the macanic she uses on the first look you give her,
she is armed with a needle almost as tall as her.
Camille

54
Artistic Direction
As stated before, the entire world is made out of fabric,
more precisely a patchwork.
The game being an invention of Camille’s mind, patchwork
was the ideal solution. Like legos, you can use it to create
almost anything from a windmill to a living being and so it
can be used by a child quite easily.
Moreover, this Lego use of peice of cloth is an advantage
for us to, since we can produce the graphic part of the level
quickly and easily.
The colors used on each level are in adequation with the
theme of the Level’s HUB. Since we chose to present an Au-
tumnal HUB, colors we used are mainly reds, oranges, yel-
lows and browns, giving a warm athmosphere.
The World
Colors

56
Trois Petits Points - Ecole des Gobelins
This short animation film is one of the base of our game
and our main inspiration for our main mecanic, as well as
for a good part of our intentions in terms of Game Design.
The Sound design of this film is full a sounds linked to sew-
ing which is perfect to base our feedbacks.
Lumino City - State of Play
Lumino City is a 2D Puzzle Game in a fully handcrafted
world. Beside the 2D Puzzle part, we thought that the ar-
tistic direction could really benefit us as a reference. The
mood set by the acoustic and soft music that lead the play-
ers in their progression without breaking their immersion
is what we want and tried to achieve.
Life is Strange - Dontnod
Life is Strange’s Original Sound Track is top quality made
by a bunch of artists including Sid Matters and José Gon-
zales. The acoustic universe of LiS is both melancolic/nos-
talgic and full of hope and daydreaming. For the presented
HUB, automn, we thought that it was the kind of mood we
wanted and we prioritized music based on José Gonzales’
work.
Sound Design
Inspiration
Game Experience

57
The music is here to help build up the universe we wanted
to have for this presentation. It’s supporting the impression
of daydreaming that we get from Camille and sligtly mark
the game progression.
We’re playing inside the stories and imagination of a little
girl, marked by her environement (Here the Autumn) and
the music has to follow these terms and support them.
The mood has to reflect the place Camille’s mind is evolving
. In the presented levels, Camille is evolving in floating is-
land around or above an autumnal forest. Birds, tres, wind
and falling leaves are a must in the ambiant sounds. We also
included periodic raven sounds, both for the symbol of fear
and danger and to tease a character we wanted to introduce
later.
Up Cloth’s world being childish and revolving around the
action of sewing, our sound design is a necessity to hold
that universe. It’s there to reinforce the sense of wonder and
imagination, reinforce immersion so that the player feel at
ease while playing, calm.
It is important for our sounds not to take too much place
in the game though, for it not to take over the player’s mind
which should be focused on the puzzles and discovery of
the world he’s evolving in.
Sound Design
Music
Mood
Sound & Gameplay
Audio OverviewGame Experience

58
Sound Design
The feedbacks are treated with sobriety. They are kept slight,
not to mess with the global mood that we tried to set, while
still retaining their primary role of showing the player they
did something and what they did.
Up Cloth has only one listening point, which is the Avatar.
There is no particular spacialization in the state the Game
is for now.
Our sound design is revolving around the fact that we are
in a little girl mind and as such, the ways of tweaking the
mood and music is based around that axis too. Basically
a forest is both enchanting/mysterious/exiting and some-
thing to be afraid of, for it is dark and unknown.
Slight changes we can make are the birds sounds. Their in-
tensity, presence/absence and tone can be a vector of inten-
tion for the mood. The joyfull song of some birds are far
more cheerfull than the raven’s cry.
For the music, simply adding an instrument layer in har-
mony or discord can change the mood drasticly.
The player is playing the mental representation of Camille,
a little girl loving to sew, in a fabric world. As for now we
don’t have a way to tweak the player experience via sounds
linked to the avatar but the relationship beetween Camille
and her passion could change the experience if it is a toy for
her or a boundary put by adults.
Feedback
Listening Point
Usable variables - Universe
Usable variables - Avatar
Audio Overview
Game Behaviour
Game Behaviour

59
Sound Design
Assets
Nom Recherches Création Validation Commentaires
forest_mixage final x x x Ambiance
MusicLoop_Intro x x x Fraction music
MusicLoop_Main x x x Fraction music
Point_feedback x x x Feedback
Impact_heavy x x x Feedback
Windlight x x x Fraction ambiance
ForestAmbiance x x x Fraction ambiance
Windgust1 x x x Fraction ambiance
CrowLight x x x Fraction ambiance
CrowStrong x x x Fraction ambiance
Footstep_1 x x x Feedback

62
Gameplay
With the current state of the prototype, our main mecan-
ic is working by object. What we would like to have is for
the player to move the selected vertex along with the close
vertice .
That would allow us to close cuts in the fabric (Similar to
closing a wound) and to get more realistic fabric movement.
We’re here talking about additional movement mecanics
revolving around the mecanic we already have (The sewing
mecanic).
Ideas such as setting a point and going down the string like
a rope (abseiling) or using a point to let an object (Or the
avatar) swing around said point are thing we would have
liked to give the player the oportunity to do, as we think
movement liberty is quite crucial in a game like Up Cloth.
Sewing Mecanic
Movement Mecanics
Our ambition in terms of narration is to have a different
story by HUB and, in some of those stories, to introduce
a new character that will give the player an additional me-
canic.
For example we would like to give the player the ability to
cut a string beetween two objects or the one to push a piece
of fabric like in Yoshi’s Wooly World.
Additional Mecanics

63
We would like to deepen and improve our actual artistic
direction by multiples means, such as :
- Rework on the avatar to make it more lovable and
close to our idea of Camille, make her more in sync with
the different themes, with maybe additional skins depend-
ing on the HUB theme.
- We also want to use more different type of fabric,
deepen the association between the themes and the fabrics
‘assets we use.
- We are also thinking about adding the 3 other sea-
sons Summer, Spring and Winter to tell Camille’s life (En
s’inspirant d’oeuvres comme celles d’Arcimboldo.
- We have also more themes that can be used to tell
other Camille’s story like “Night”, “Animals”, “School”, and
themes more profound like “Death”, “Fear”, “and Loneli-
ness”.
We would like to implement a solid narration in Up Cloth.
Each level would be like a chapter of a story (Told trhough
the entire HUB) invented by Camille (And maybe an addi-
tional character linked to the HUB).
The interventions of Camille and other characters would
be via short lines appaering when an even occurs, just like
the story telling in Bastion or Transistor from SuperGiant
Games.
The voice and tone of these interventions would depend
on the character saying them. For exemple a line said by
Camille would be one that a child could have told and a
line told by the Crow (See the Research section of this doc-
ument) would be told by a old feminine voice, a bit scary
and rought.
Artistic Direction Narration

64
We think that the gameplay of Up Cloth can be really well
suited and ludic for tablets, the way the player links the dif-
ferent fabric can be done with the fingers, and also we only
need a simple controller on the screen to move the avatar.
The display of the levels is also suited to a tablet game,
as the player can slide through either the different levels
(canvas) either the different tapestries already completed,
it displays as a children book, a perfect way to call upon
Camille’s story.
The tablets also open our player base, from 8 to 88, everyone
can play and enjoy the story unravelling and the multitouch
could allow us to think about making the game playable by
2 or 3 players to make it a familly experience.
The low demanding levels (In term of ressources) and the
fact that they are short and quickly restartable (Like an An-
gry Birds level for exemple) make it so tht this would not be
too hard to port on mobile surfaces and we really think that
it would be beneficial for the game, which lead us to some
changes in our original design as we chose to strenghten
this aspect of Up Cloth.
Tablet & Android

68
Sewing : Indicate a collection of pieces with a string, man-
ually with a needle, with a sewing machine or an “overse-
wing machine” (surjeteuse). Used for clothes confection,
house sheets, decoration elements, shoes, etc. In surgery,
two side being sewed is called a stitch. Sewing is a profes-
sion but also a recreation. The principal tasks are confec-
tion, alteration and adjustment.
Type de points
- Tacking Stitch (Point de Bâti): Used to temporary
link two pieces of fabric.
- Oversew (Surfiler)
- Overcast seam (Surjet)
- Overstitch (Surpiquage)
- Mending (Reprisage)
- Running stitch (Point devant)
- Back stitch (Point arrière)
- Blind hem stitch (Point de chausson)
- Side stitch (Point de côté)
- Cross stitch (Point de croix)
- Stem stitch (point de tige)
- Purl (Point jersey)
- Simple
- English
- “Rabattue”
- Flat
Accesories and elements
- Button
- Zip

- Sewing string
- Seam-lace (galon): A braid is a strip of cloth of
gold , silver , silk, thread, wool , etc. , which has more body
than a simple ribbon , and that is put on the edge or on the
seams of clothing, furniture , etc. or to prevent them from
unraveling or for an ornament . In the field military, it is a
woolen band, on the sleeves and shoulders.
- Pattern (Patron): A pattern is the representation
of a garment viewed from the front or back. It is generally
made from sheets of paper and permits a garment before
manufacturing sewing.
- Velcro
- Pocket
Sewing Research

69
Tools used in sewing
- Sewing needle: A sewing needle or needle eye is
an instrument of sewing for passing a thread through fab-
ric or leather pins were manufactured from brass since the
Bronze Age until the nineteenth century. Nowadays, the
needles are made of steel.
- Darning needle (aiguille à repriser): A needle used
to sew the darning wool. It’s slim and long.
- Knitting needle (aiguille à tricoter)
- Thimble (Dé à coudre): A thimble is often a small
cylindrical object into which you insert your fingertip to
protect it from the sewing needle, usually the middle or
ring finger. It allows as well to “Push” the needle in thick
fabrics and receive during a sewing needle in hand. It serves
primarily to millimeter the sewing.
- Pin (Epingle): A pin is a small threadlike object
used to hold all objects. It’s pointy on one side and has a
head on the other side.
- Sewing scissors
- Embroidery scissors: Small scissors and very sharp
to reach the corners and cut the strings closer to the fabric.
- Pinking Shears (ciseaux à cranter): Tailoring scis-
sors, but with a blade which cuts in zigzag. This type of scis-
sors is used to finish the seams and for decorative borders.
- Sewing machine
- A tape measure
- French chalk (craie à tissu)
Sewing Research

70
Our first iteration for Up Coth was a bit different of what
we’re presenting now. Some of the ideas have been reused
and the main idea is still here, but the game was different.
Sewing Research First Iteration
Strings Type :
- Cotton string: Soft and firm, it’s mainly used with
cotton fabrics. It adapts easily to light fabrics, but it is not
recommended to combine it with stretch fabrics, sewing
points can break.
- Silk string (Fil en soie): Fine and elastic, it’s very
durable hence it’s used on delicate fabrics.
- Rayon yarn (Fil métallique ou en rayonne): Syn-
thetic yarn surrounded by metal fibers, it is generally used
for decorative stitching.
- Taking thread (Fil à bâtir): Entirely in cotton and
very fragile, it’s used to make the provisional seams. Fragile,
easily broken thereby remove without damaging the tissue.
In an entirely fabric-made world, two beings, one little girl
and an animal, will have to join their forces and fill in for
their weaknesses, to diffuse the traps on their path with
great hit of scissors and needle.
The world and so, the game’s space, in which the player
progress, is entirely made of fabric and deformable to an
extent. The avatars are a bird and a little girl, each with a
tool bringing a importance to the game’s progression: the
scissors for the bird and the needle for the girl.
The avatars ’capacities are opposite but complementary
In the framework of a cooperative experience, we would
like to offer an interesting scenarist experience support by
an ludic gameplay.
Pitch
Gameplay

71
Though not named yet, our first iteration for the charac-
ter shared similarities with Camille and was the base for
the little girl. We already had some guidelines we wanted
to follow.
First, we wanted the avatar to be human. Sewing is an act
tipically human and can be accomplish only via the use of a
tool created by a human.
Associated figures :
- Arianne String (A light that lead to outside of the
Maze => illuminated string?
- Spider string : More rought shape not used for
sewing but still interresting. Inspiration for animations/
mecanics?
Graphic elements :
- Needles as an hair pin and/or weapon
- Measuring tape as a belt or scarf
- each death brings a scar/sewing on the avatar itself
- Savepoint via sewing something to the background
First Iteration Character
Each avatars have different capacities.
The little girl possess a sewing needle. She can move later-
ally, jump and fall from a cliff. Her capacity with the needle
is to bring two elements close to each other as a couturier
will do.
The bird can move more freely and cut strings and fabrics
that are part of the environment.
In a world entirely made of fabric, a little girl is going to
find a save a cage bird. Together, facing adversity, the skills
of one completing the other one, they are going to combine
sewing and cutting to achieve their goal.
Two Avatars
Scenario

72
ReferencesThe Birds
As we stated before the Raven was supposed to be an avatar
controlled by another player and with complementary abil-
ities from Camille.
Inspired by Trois Petits Points and the form of the beak we
chose to give him the ability to cut along the strings and
seperate elements. The ability to cut is something where
you don’t need a human-made tool, animals can do it eas-
ily. But the shape of the beak and the fact that it is a quick
and easy act made us think a bird of pray was the best bet.
The Raven was supposed to be dark and dangerous, aggres-
sive even. The idea to have a character narrating the sto-
ry was first given to him with a hight minded voice and a
rhought tone.
As for now the Raven is a character we still want to intro-
duce, but in a later HUB. Associated with Camille’s Grand-
ma (dry hands like claws), it would still have the ability to
cut (Scisors are not for children) and would also impact the
narration (With a more gentle, thought rough, voice)
The Raven Trois Petits Points
Unravel

73
References
Yoshi’s Wooly World Lumino City
Kirby’s Epic Yarn Life is Strange

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