$npx -y skills add Stanestane/game-design-skills-bundle --skill game-design-fantasy-extractorExtract the core player fantasy from a game, feature, loop, or pitch based on what the design actually lets the player do, feel, and become. Use when a team can describe mechanics but cannot clearly articulate the fantasy those mechanics are supposed to deliver, when a concept fe
| 1 | # Game Design Fantasy Extractor |
| 2 | |
| 3 | Extract the fantasy the design is actually trying to deliver, not just the genre wrapper or marketing line sitting on top of it. |
| 4 | |
| 5 | Use this skill when a team can explain systems, verbs, and content, but cannot cleanly state what the player is meant to feel like, become, or emotionally inhabit. The goal is to infer the core player fantasy from the design itself, test whether the systems support it, and expose where the fantasy is generic, split, or fake. |
| 6 | |
| 7 | Read `references/family-conventions.md` when you want the shared style, prioritization, and diagnosis rules for this game-design skill family. |
| 8 | Read `references/output-patterns.md` when you want the preferred recommendation and minimal-fix structure. |
| 9 | |
| 10 | ## Core principle |
| 11 | |
| 12 | Players do not attach to mechanics in the abstract. They attach to what those mechanics let them be. |
| 13 | |
| 14 | A useful fantasy statement does three things: |
| 15 | - names who the player becomes |
| 16 | - implies what emotional payoff they are chasing |
| 17 | - is supported by repeated gameplay, not just theme dressing |
| 18 | |
| 19 | If the fantasy could describe fifty unrelated games, it is too weak to guide design. |
| 20 | |
| 21 | ## What to produce |
| 22 | |
| 23 | Generate: |
| 24 | 1. **Core fantasy** - the strongest player-facing fantasy implied by the design |
| 25 | 2. **Supporting fantasy layers** - secondary fantasies or emotional promises present in the design |
| 26 | 3. **Fantasy support map** - which systems reinforce the fantasy and which fail to do so |
| 27 | 4. **Fantasy conflicts** - where systems, pacing, or progression undermine the claimed fantasy |
| 28 | 5. **Design implications** - what must be strengthened, clarified, cut, or re-framed |
| 29 | |
| 30 | ## Process |
| 31 | |
| 32 | ### 1. Define the extraction target |
| 33 | Clarify: |
| 34 | - what exact game, feature, loop, or pitch is being analyzed |
| 35 | - whether the fantasy is for the whole product or one experience slice |
| 36 | - whether you are extracting the current fantasy or pressure-testing a claimed one |
| 37 | |
| 38 | Write: |
| 39 | - **Extraction target** |
| 40 | - **Scope** |
| 41 | - **Claimed fantasy if any** |
| 42 | |
| 43 | ### 2. Identify the player verbs and role |
| 44 | Look at: |
| 45 | - what the player repeatedly does |
| 46 | - what power they exercise |
| 47 | - what decisions they make |
| 48 | - what social or world position they occupy |
| 49 | - what consequences they create |
| 50 | |
| 51 | Ask: |
| 52 | - What role is the player actually inhabiting? |
| 53 | - What kind of agency does the design grant? |
| 54 | - Is the player expressing mastery, care, domination, discovery, survival, performance, stewardship, rebellion, creation, or something else? |
| 55 | |
| 56 | ### 3. Infer the emotional promise |
| 57 | Ask: |
| 58 | - What is the player supposed to feel at their best moments? |
| 59 | - What fantasy payoff keeps the loop emotionally coherent? |
| 60 | - Does the design promise competence, cleverness, power, danger, intimacy, authorship, belonging, control, chaos, or transformation? |
| 61 | |
| 62 | State the strongest emotional promise in plain language. |
| 63 | |
| 64 | ### 4. Separate fantasy from theme skin |
| 65 | Check whether the fantasy is genuinely systemic or mostly cosmetic. |
| 66 | |
| 67 | Examples: |
| 68 | - a game dressed as leadership but functionally about spreadsheet optimization |
| 69 | - a game themed as outlaw chaos but structurally punishing improvisation |
| 70 | - a game marketed as freedom while funneling players into narrow routes |
| 71 | |
| 72 | Ask: |
| 73 | - If the art and fiction layer were stripped away, would the same fantasy still be legible through play? |
| 74 | - Is the fantasy delivered by action, or merely narrated at the player? |
| 75 | |
| 76 | ### 5. Identify supporting and competing fantasies |
| 77 | Many designs carry secondary fantasies. That is fine until they collide. |
| 78 | |
| 79 | Look for: |
| 80 | - power fantasy versus vulnerability fantasy |
| 81 | - mastery fantasy versus cozy ritual fantasy |
| 82 | - freedom fantasy versus authored narrative control |
| 83 | - social belonging fantasy versus individual dominance fantasy |
| 84 | |
| 85 | Name the strongest secondary fantasies and whether they strengthen or muddy the main one. |
| 86 | |
| 87 | ### 6. Map support and contradiction |
| 88 | For each major system, ask: |
| 89 | - does it reinforce the fantasy |
| 90 | - distract from it |
| 91 | - undermine it |
| 92 | - replace it with a different fantasy |
| 93 | |
| 94 | Use this format: |
| 95 | |
| 96 | | System or loop element | Supports fantasy? | Why | |
| 97 | |---|---|---| |
| 98 | | ... | Strongly / Partly / Weakly / No | ... | |
| 99 | |
| 100 | ### 7. Write the extracted fantasy sharply |
| 101 | Prefer a compact form such as: |
| 102 | - **You are ...** |
| 103 | - **You get to feel like ...** |
| 104 | - **This is a game about becoming ...** |
| 105 | |
| 106 | Good examples are concrete and emotionally legible. |
| 107 | Bad examples sound like box-copy mush. |
| 108 | |
| 109 | ### 8. Convert the fantasy into design implications |
| 110 | For each important fantasy claim, specify: |
| 111 | - **Fantasy promise** |
| 112 | - **What the design must deliver repeatedly** |
| 113 | - **What the design should avoid because |