Art and Audio Highlights
The game don’t not have any art as its all shapes and font, to us the art style of the game is retro with a clash of minimalistic
Hardware

As in the high-concept document, state your target platform. If it is a personal computer rather than a console, also state the minimum configuration required to play the game.
Production Details
If you’re writing a treatment as part of a pitch to a publisher, it’s essential to say not only what the game will be like, but who will develop it and when, and what it will cost to develop. Good game ideas might be common, but good development teams are rare; the publisher will want to see evidence that you have the resources and experience to get the job done.
Current Status
Start by letting the publisher know where you are now. If you have actually begun some prototype work or proof-of-concept work, say so and indicate what features it contains. If the game is still no more than a gleam in your eye, leave this section out.
Completed prototype demonstrating military (but not psychic) game features. Includes:
3D landscape with moving water and foliage, bridges, buildings, vehicles.
Player characters with visible differences, motion-captured animations, variety of movement modes.
Development Team
List the names and qualifications of your key people. Indicate what role each will play in the project. Don’t include their entire résumés; nobody will read all that. Instead, give a one-paragraph synopsis of each person’s history, including who they’ve worked for, in what position, and what games they already have credited to them. Include their education only if it’s relevant and recent; producers are much more interested in knowing that someone has shipped a successful product than in where he went to school.
Don’t include more than about six people here. If you have a big team, list only your managers and star performers.
Budget
Budgeting game development is a black art indeed and is far beyond the scope of this book. At this point in the process, without a signed contract, it’s not worth trying to figure out a detailed budget—you can’t know what everything will cost until you and the publisher have agreed on what all the game will include. However, you can give a rough estimate of how much you expect to spend overall. This lets the publisher know approximately how big your ambitions are. If you say $500,000 here, they’ll know you’re talking about a small project; if you say $5 million, they’ll know you want to build a blockbuster.
At this point, nobody will hold you to whatever number you put down; it’s only a guideline. The number that really matters will be the one in the contract.
Schedule
As with budgeting, there’s no point in scheduling tasks in detail until you know what they’re going to be. However, you can offer a proposed ship date for the product and some key milestones here, if you want to. Again, this information just serves as a guide to the publisher to indicate how ambitious the project is. The real schedule will be the one built into the development contract.
Competition
The section on competition was optional in the high-concept document, but at this point it’s essential. A publisher will want to know what other games this product will be going up against in the marketplace, and how to position yours to beat them. Bear in mind that you’re talking about a time 12 to 24 months in the future, depending on how long it will take to build your game. Games that are already on the market are unlikely to be its competition unless you expect their publishers to issue sequels or updates to them. The competition you need to list are the games that are under development at the same time as yours. Because they won’t be advertised yet, you’ll have to read the trade press and industry Web sites to find out what features they’re expected to include.
For each competing product, list its name, who makes it, what machine it’s for, and when it’s expected to ship, along with a summary of its key features. Then indicate clearly what will make your game different from it and, above all, better.
Game World
In the last major section in the document, you can include anything else that’s likely to get your reader fired up about the product. You’ve already discussed the gameplay, technology, and general features of the game, so this is the time to include background material that draws the reader deeper into your world.
Backstory
If your game has a story and characters, then presumably something has happened that created the game’s primary challenge. Tell your reader briefly what happened in the days (or geologic ages, depending!) leading up to the beginning of the game.
The appearance of Indoctrinol has thrown America’s national security apparatus into a panic. Everyone sent to investigate it has disappeared, including the elite Delta Force and Seal teams. It’s clear that something special is called for. Searching the entire U.S. military, the government has found four—only four—superb soldiers who also have latent psychic abilities. After a few days of training, they’re sent on their way: strangers to one another on a mission to the unknown.
Objective
What is the player’s overall objective, the thing she is trying to achieve to complete the game? This doesn’t have to be the “true” objective, however—the player can find evidence of a deeper and more serious problem as he plays.
Follow the trail of Indoctrinol back to its source, and wipe it out. This will take you to locations around the world, operating undercover to perform missions against Third-World dictators, drug lords, terrorists, organized crime, and anyone else who has anything to do with Indoctrinol.
Characters
If you’ve already defined the game’s characters and they are important enough to help sell the game, include their names, pictures, backgrounds, and special abilities here.
Paul “Mayhem” Jackson
Psychic ability: Shield. Can project a protective shield around teammates.
Weapons: Chain gun, grenade launcher. Mayhem is a heavy-weapons expert.
Armor: Very heavy, which makes him relatively slow-moving.
Personality: Angry and ruthless over some event in his past.
Mission or Story Progression
Lay out the game’s narrative arc as far as you know it. Document the twists and turns that the story might take, and indicate the way in which the player’s success or failure will affect her progress through the game. For example, if the story is linear and the player must accomplish each scenario in order to proceed, say so; if it is branching, say that and explain how the player goes down one branch or another. Don’t write a novel—this isn’t the design script—but rather provide an outline for a novel, listing the key events in the plot.
In the single-player game, missions will progress from easy to hard as the team follows the drug back to its source. Initially dealing only with human drug dealers on a local scale, they will eventually take on smugglers, distributors, and manufacturers of the drug.
In later missions, it will become clear that there are demonic creatures among the humans, for reasons that are not initially clear. They will remain in human form for as long as possible, but when attacked hard enough, they will morph into their original demonic forms, huge and terrifying.
To combat these creatures, additional psychic training and nontraditional weapons will be provided to the team as the game goes on . . . .