Developing Wordless Adventure Game In Hand-Drawn Ballpoint Style

Introduction

We are a small team based in Japan, developing Finding Polka. We value experiences where players can intuitively feel, discover, and interpret things for themselves without relying on words. The project is primarily created by Kumazawa and Uchida.

I handle the visuals, programming, and overall direction, while Uchida is responsible for the sound design. Rather than giving each other detailed instructions, we develop the game by trusting each other's interpretations and sensibilities.

For nearly 20 years, I worked in Japan as an interactive designer in the advertising industry. Advertising is often temporary by nature, and even when a project is well-received, it rarely remains as a lasting work. During the COVID pandemic, my workload became quieter, which gave me the opportunity to start learning Unity. That experience led me to want to create something with my own hands that could remain and be experienced for a much longer time, which is what drew me into game development.

Inspirations & Influences

Finding Polka began with a very simple idea: "searching for something." While the player is given destinations to reach, the core concept was to create an experience where they walk, notice, and discover things through their own curiosity and initiative. I wanted the process itself to feel meaningful.

As development progressed, I realized that "not explaining everything" and "not relying on words" were essential elements of the game. Rather than directly telling players what to think or feel, I wanted to create an experience where they naturally come to understand things on their own.

One of the inspirations came from seeing a sign in town that said a dog had gone missing. I used to have a dog myself, and I still vividly remember feeling, "I hope someone can help." The emotions tied to that moment – anxiety, hope, and the desire to find someone important – became the emotional core of the game's "searching" experience.

I was also influenced by the picture books I loved as a child, as well as works like Where's Wally?, which capture the joy of discovering things for yourself. By combining those influences with my own memories and sensibilities, Finding Polka gradually took shape.

Gameplay

Finding Polka is a walking simulator about searching for a missing dog while wandering through a variety of places. From towns and forests to the sea and even outer space, players freely explore a quiet and slightly mysterious world.

There is no dialogue or text in the game. Instead, the story and events are communicated through character gestures, sounds, and changes in the environment. Rather than being directly told what is happening, players naturally come to understand the situation as they walk through the world.

Along the way, players will encounter many small events and mini-games. These are not required to complete the game, but taking detours allows players to experience the world more deeply and build stronger connections with its characters.

Overall, the game is not focused on competition or challenge, but on moving at your own pace, making discoveries, and enjoying small moments along the journey. It is designed to be enjoyed casually by a wide range of players, from children to adults, including families and groups of friends.

Choosing Hand-Sketched Ballpoint Visual Identity

There were several reasons why I chose a ballpoint pen illustration style for the visuals of Finding Polka. One practical reason was production cost, but more importantly, I felt it was a style that could leave room for imagination and interpretation.

By avoiding color and constructing the world using only simple lines, I intentionally limit the amount of visual information presented to the player. As a result, the game naturally developed a visual identity that feels distinct from other games. Players are encouraged to fill in the world with their own imagination, and I felt this approach worked naturally with the game's wordless design philosophy.

In terms of the production process, the artwork is first drawn by hand using ballpoint pens and then arranged digitally within the game for layout and composition. Rather than overly refining the drawings, I try to preserve the natural imperfections and inconsistencies of the hand-drawn lines, keeping the analog feeling intact.

Although the style may appear simple at first glance, I carefully consider the balance between how much information is communicated and how much is intentionally left out. In many ways, making the game work within those limitations has become one of the central themes of the project itself.

Tech Stack

The game is being developed using Unity. Its flexibility and the ability to quickly prototype ideas suited my development style very well.

The core gameplay uses a quarter-view perspective that allows movement in all four directions, but in some scenes the game naturally shifts into a more flat, side-scrolling 2D presentation, or explores a kind of 2.5D visual approach. I wanted these transitions in perspective and gameplay rules to feel seamless and natural, without creating discomfort for the player.

I also place a strong emphasis on the sense of space that can only exist through flat, layered visuals. In particular, I use parallax effects to create depth, atmosphere, and a sense of "negative space" within the screen. Rather than simply trying to make the world look three-dimensional, I focus on expressing quietness and openness through the layering of elements and subtle differences in movement.

Wordless Narrative Adventure

Making Finding Polka a dialogue-free game was an intentional decision from the very beginning of development. Rather than explaining things through words, I wanted players to sense situations for themselves and naturally come to understand the world through experience.

Of course, removing language makes it more difficult to communicate information directly. However, it also creates more room for the player's own interpretation. I place great importance on conveying meaning through expressions, gestures, sounds, and subtle environmental changes, allowing players to intuitively feel what is happening.

More specifically, the game is designed so that meaning emerges through the accumulation of small details – character reactions, the rhythm of movement, and the nuances of sound effects. Events within the game are also structured to be understood as intuitively as possible. Rather than making players consciously "understand" something, I wanted them to naturally arrive at a sense of understanding and emotional acceptance on their own. That is why I chose an approach that does not rely on words.

Children Taking Part In Development

One of the most memorable aspects of development has been how the people closest to me naturally became part of the feedback process. I have three children – ages seven, five, and one – and I regularly let them play the game while observing their reactions. In a way, they have become the directors of Finding Polka.

Children tend to respond more honestly and intuitively than adults, especially when it comes to whether something can be understood without explanation or enjoyed instinctively. Watching what catches their attention, where they stop, or how they interact with the world has given me many important insights and often led me to rethink certain aspects of the design.

They also frequently discover unexpected ways to play or notice things I never intended, which has reminded me how important openness and freedom are to the experience. Those surprising reactions have ultimately helped shape the game into something richer and more alive.

Conclusion

The latest updates for Finding Polka are mainly shared through the game's Steam store page. We also regularly post development progress, videos, and other updates on social media.

If the game interests you, we would be very happy if you added it to your wishlist. It is a huge source of encouragement for development, and it also helps players receive notifications when the game launches. Reactions, comments, and shares on social media are also a tremendous form of support. Every response we receive becomes motivation that helps carry the project forward.

Shinnosuke Kumazawa, Game Developer

Interview conducted by Emma Collins