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Bilal Deli
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GamesIn development

The Nameless Coast

A Godot puzzle game that teaches Mandarin characters through exploration, context and inference rather than memorisation.

A character standing on a beach littered with wreckage
Genre
Puzzle / exploration
Engine
Godot
Subject
Mandarin (汉字)
My role
Design, development, art

Technologies

  • Godot
  • GDScript
  • Python
  • Game Design
  • Language Learning

Project overview

In my personal game project The Nameless Coast, the player wakes on an unfamiliar coast after a shipwreck. The marks on doors, temples and objects are never translated directly; the player infers their meaning from context and records each deciphered Mandarin character in an in-game journal.

01

No translation, only inference

Most language games show you a word and then quiz you on it. This one inverts that: you meet a character in the world first — above a door, on the rim of a bell, on a sign — and you work out what it means by solving the puzzle around it.

Each journal entry has a guess field: "what do you think it means?". Wrong answers cost nothing; the character simply stays undeciphered, and the next time you meet it in the world you gain one more piece of context.

That makes learning the progression mechanic rather than a by-product. If you cannot open the door, it is because you have not understood the mark on it yet.

02

The journal

The journal (词典) is the game’s only interface. Every mark you find collects here: 上, 下, 门, 开, 关, 庙, 火, 风暴, 船, 外人, 中…

A counter at the top reads something like "3 deciphered · 14 found". The distinction is deliberate: having seen something is not the same as having understood it.

Pages are grouped thematically. On the "The Door" page 门 and 关 sit side by side, because seeing them together explains both — one gives you the object, the other the action performed on it.

The journal screen
The journal: found marks, the guess field, and the deciphered / found counter.
03

The coast

Locations are designed around the words they teach. The beach opens on wreckage — that is where 船 and 风暴 come from. The hall and the temple doors teach the trio 门, 开, 关. The bell only makes sense towards the end, once you can actually read the marks.

The visual language is deliberately quiet: washed-out sand tones, dark interiors, backgrounds that do not compete for attention. I wanted the marks to be the only thing on screen asking to be read.

The hall
Where 门, 开 and 关 are learned.
04

Why Mandarin

Hanzi lend themselves to being a game mechanic: each character is a visual puzzle on its own, and its parts recur inside other characters. Once you understand 门, every character containing 门 hands you a clue.

This would not work for a language written in the Latin alphabet — you either know the word or you don’t. With hanzi there is a middle zone, "I can see its structure but not its meaning", and the entire game lives in exactly that zone.

The sanctum
庙 — the interiors of the coast.
05

Godot and the process

I am building the game in Godot. The journal system turned out to be the hardest part: it has to track the state of every mark found in the world, store guesses, and present the same character in different contexts across different locations.

I also document the process on my YouTube channel. I find it more useful to explain why a design decision changed than to show a finished feature.

The Nameless Coast — development video

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