1. Synopsis

Framed – A Murder Mystery Game is a „murder mystery in a box“ experience, where players dive into a cold case by examining a collection of documents, letters, photos, and clues. The story begins with Matilde, a modern-day art restorer at the Anhaltische Gemäldegalerie, who makes a surprising discovery. While examining a painting from the gallery's collection, she notices that it appears to have been painted by two different artists, despite being officially attributed to just one.

As she investigates further, Matilde uncovers a much bigger mystery: the painting was originally scheduled to be exhibited at the grand opening of the gallery on September 17, 1927, a day marked by a tragic event. On that very evening, a murder occurred during the exhibition. Curious and unsettled, Matilde gathers as much information as she can and reaches out to a true crime podcast team, the players, in the hope that they can help solve this nearly 100-year-old case.

Upon opening the game box, players are faced with a variety of historical documents, clues, and pieces of evidence. To solve the mystery, they must read carefully, analyze the materials, connect the dots, and piece together what really happened that night.

What should players learn?

Through the process of solving the case, players will not only engage in critical thinking and deductive reasoning, but also learn about the historical context of the Anhaltische Gemäldegalerie’s opening in 1927. Several authentic artworks that were actually displayed during the original opening are featured in the game, providing insight into the art and culture of the time. Additionally, the game includes a historically inspired floor plan based on the original layout of the Palais Reina, a building that was destroyed during World War II.

By combining fiction with real historical elements, Framed offers players both an exciting mystery and an immersive learning experience about art history, museum culture, and a forgotten moment in time.

Art styles

For the visual design of the game itself, we decided to combine two distinct styles. Here you can see our mood boards.

The packaging of the game is inspired by the Art Deco style, a decorative movement from the 1920s and 1930s characterized by bold geometric shapes, vibrant colors, luxurious materials, and a sense of modern elegance and sophistication. We felt this was a perfect fit, as our story revolves around a glamorous art exhibition set in the 1920s.

For the in-game documents that players use to solve the mystery, we were partly inspired by real historical materials from that era. Our goal was to create items that feel authentic and true to the spirit of the time. The documents are designed to look as if they are nearly a hundred years old—with stains, yellowed paper, and signs of aging—to make the experience more immersive.

However, since our game also takes place in the present day, there are also some modern documents, such as letters and websites, which we designed in a contemporary style.

2. Character Development

Lena’s Characters:

When creating my two characters, it was important to me to make sure we had enough women in our character pool and that they were very different from each other.

That’s why I came up with two contrasting personalities: the kind cleaning lady Martha and the ambitious, often strict-seeming journalist Frieda. I wanted to create a strong contrast between the two.

From the beginning, it was clear that Frieda would be one of the possible suspects in the story. Because she is so determined and maybe even a bit ruthless when it comes to her career, she is willing to do anything for a good story. That naturally makes her stand out in a murder investigation.

Martha, on the other hand, should be ruled out as a suspect fairly quickly. She plays more of the role of the friendly cleaning lady next door.

Now, let’s take a closer look at their actual character descriptions:

Frieda Stark

Frieda Stark is a 29-year-old woman who dresses in stylish, slightly masculine clothes like suits, wanting to be taken seriously. Her hair is always neat, usually tied in a bun, and she stands tall with a confident presence. She has a slim, athletic build and wears a simple silver ring from her father.

Her expression is usually serious, which makes her seem cold at times. She moves with purpose, every gesture clear and controlled.

Frieda is a journalist who wants to be respected in her field and prove that women can write just as well as men. She fears being overlooked and always staying in the shadow of men. Her motivation is to show that women are strong, in their careers and in society.

Privately, she struggles to balance her work with her personal life. Her marriage is emotionally distant, and her career is what matters most to her.

She comes from a middle-class German family with traditional values. While she was raised Christian, religion isn’t important to her now. She believes in modern ideals like equality and fairness.

She has a close relationship with her father, who supports her, but her mother disapproves of her career, and they rarely speak. Her best friend is Pauline, they are very close but sometimes argue over their different opinions.

Frieda is married, but the relationship lacks love. She doesn’t conform to social norms and often challenges them, especially when it comes to women’s rights.

Frieda is ambitious, brave, and determined. She believes in herself and stands up for what she thinks is right. However, she can be too direct, doesn’t always consider others’ feelings, and often puts her work before relationships. She values equality, recognition, and honesty, and though she has strong morals, she’s sometimes willing to cross the line to get a good story.

Martha Liebherr

Martha Liebherr is a 46-year-old woman with a warm but worn-out appearance. She usually wears comfortable, colorful clothes and often ties her hair up or hides it under a scarf. Years of cleaning have left her slightly hunched, and her hands are rough, but her face is friendly. One thing she always wears is an old necklace with a picture of her late husband.

Her eyes light up when she's gossiping, but they turn sad when she talks about her own life. She speaks with passion and uses a lot of hand gestures.

Martha wants to feel like she belongs and be liked by others. She's afraid of being alone and feeling unimportant. Gossip helps her feel connected, even though she often talks so much that it pushes people away. Deep down, she longs for closeness.

She is a German woman from a small town and still speaks in an old-fashioned way. She lives alone with her cat and has little money, but she gets by. She is Christian, mostly out of tradition, and enjoys holidays and old customs.

Martha has no close family and only a few true friends. She held on to the memory of her late husband, who died in the First World War, for a very long time. But recently, she has finally started to take an interest in someone new, Wilhelm, the night watchman at the art gallery.

Despite her flaws, Martha is kind, warm, helpful, and funny. However, she can also be nosy, unreliable, and too talkative. She values closeness, honesty, memories, and tradition. She means well, even if she sometimes crosses the line.

Character Integration and Changes

As a group, we took all eight of our characters and looked at how they could be connected. Frieda was barely changed, now, in her past, she went to school with Otto, so the two already knew each other. We also added a conflict between her and Wilhelm, since he caught her sneaking around and doesn't like journalists. This makes her seem a bit more suspicious.

For Martha, we gave her a crush on Wilhelm. Originally, she was supposed to still be holding on to the memory of her late husband, but we decided it would make the mystery more interesting if it’s revealed that she is secretly in love with Wilhelm.

We also made Martha a member of the support group along with Otto and Jana. This not only gives her an alibi for the crime, but also helps show more of the relationships between the characters.

Vincent’s Characters:

Emil & Wilhelm – A Reflection of Two Paths

When developing my two characters, I was interested in exploring how people from similar backgrounds can take very different paths in life – shaped by circumstance, fear, or courage.

That’s how the connection between Emil Weidlich, a shy Bauhaus student, and Wilhelm Mertens, a disciplined night watchman, became the core of my contribution. Both men come from modest working-class families and share a quiet sensitivity for art. But where Wilhelm gave up his youthful dream of becoming a painter to follow a more stable path, Emil – despite doubt, poverty, and insecurity – tried to pursue that very dream.

Their stories echo each other: one protects art from the outside, the other longs to create it from within.

And almost fatefully, it’s their connection that brings them together in the final days leading up to the grand opening of the Gemäldegalerie.

Emil Weidlich

Age: 24

Origin: Dresden, from humble circumstances

Occupation: Bauhaus student (since 1925), specializing in painting and typography

Side Occupation: Occasional assistant at the Anhalt Art Association

Description:

Emil grew up in a poor family of craftsmen and discovered his passion for painting at an early age. As a child, he studied the works of the old masters in books and tried to develop his own skills by learning from them. Since he could barely afford formal studies, he worked for years as a house painter and decorator before finally daring to apply to the Bauhaus.

There, Emil stood out primarily for his technical talent. He was remarkably skilled at analyzing and reconstructing the execution of major artworks. However, in a community that valued vision, originality, and radical experimentation, he was soon seen as unimaginative. His reserved nature and lack of bold ideas made him an outsider. Over time, he developed severe imposter syndrome – a constant fear that everyone would eventually see him as a fraud.

Out of financial hardship, he occasionally produced forgeries, which he sold in secret. His side job at the Anhalt Art Association gave him insights into the work of established artists – and sometimes opportunities to steal materials when the pressure became too great. His relationship with Devon De Stijl grew closer when Devon began offering him financial support, eventually making Emil his unofficial assistant.

Personality:

Quiet, shy, observant. Emil prefers discussions about technique over anything conceptual or visionary. Praise embarrasses him, criticism wounds him deeply. Despite his skill, he feels like an imposter among real artists.

Wilhelm Mertens

Age: 48

Origin: Dessau, working-class family

Occupation: Night watchman at the Gemäldegalerie Dessau (since spring 1927), previously a guard at the Anhalt Art Association

Description:

Wilhelm grew up in modest circumstances and, as a young man, dreamed of becoming a painter himself. But his parents urged him early on to learn “something respectable” that would provide a secure income. After his military service, he chose steady employment in security work.

During his time at the Anhalt Art Association, Wilhelm developed a quiet admiration for the art he was charged with protecting. He enjoyed walking alone through the exhibition halls after hours, studying the paintings in peace and imagining what it would have been like to create them himself. He was especially moved by Jana Weber, whose kind nature and talent left a lasting impression on him.

He also watched Emil Weidlich with a certain sympathy. In Emil, Wilhelm saw a young man who had found the courage to pursue the dream he himself had set aside.

Personality:

Disciplined, reliable, reserved. Since the death of his wife, Wilhelm has lived alone and follows strict routines. He is polite, but anyone who behaves disrespectfully or arrogantly quickly meets his firm disapproval. Despite his strictness, he remains sensitive to the quiet power of art.

Pascal's Characters

The idea behind my two characters was to explore a powerful contrast between different social realities and inner worlds. 

Jana embodies the quiet strength of women from modest backgrounds—highly capable, deeply committed to their art, yet often invisible in the male-dominated art scene of the early 20th century. Devon, on the other hand, comes from wealth and privilege, raised with the expectation of greatness. While he projects an image of control and refinement, he is inwardly burdened by pressures he cannot live up to. 

Their opposing paths highlight not only questions of talent and opportunity, but also the emotional weight of visibility, recognition, and the roles society imposes.

Jana Weber

Jana Weber was born in 1904 in Dessau, Germany, and emerged as a quiet yet persistent voice in early 20th-century painting. Best known for her delicate floral still lifes and atmospheric landscapes, she was an active member of the Anhaltischer Kunstverein during the 1920s—a space where young, independent artists could thrive outside formal academic settings. Raised in a modest middle-class household, Weber’s life was shaped by early hardship and quiet resilience. The loss of her father in the First World War left a lasting impression on her, grounding her in humility and emotional depth.

From a young age, she supported her family by helping with household chores and caring for elderly neighbors, quickly earning a reputation for her kindness and tireless work ethic. She financed her artistic development by working part-time as a window painter for a local department store. Despite lacking formal training, Weber developed a remarkable eye for composition, light, and natural form. These qualities became defining elements of her early work, as seen in pieces such as Still Life with Hawthorn and Rain Over the Elbe Meadows.

Devon De Stijl

Devon De Stijl was born in 1902 in Sweden, into a wealthy and socially ambitious family that placed high expectations on him to achieve cultural and artistic success. After receiving a privileged private education, he moved to Germany in 1926 to study painting at the Bauhaus. There, he quickly gained a reputation for his refined appearance, sharp self-confidence, and strategic self-promotion.

Within the European art world of the 1920s and 30s, De Stijl was seen by many peers as arrogant, self-important, and socially distant—particularly toward those he viewed as beneath his status. Always impeccably dressed and composed in public, he deliberately avoided group exhibitions and open studios, maintaining a degree of mystery around his process. Despite this, he gained early recognition, most notably for a floral-themed piece shown at the 1927 opening of the Gemäldegalerie in Dessau. Over the next decade, he became known for his stylistic range, effortlessly moving between romantic landscapes, classical portraiture, and experimental abstraction—often blending traditional influences with contemporary innovation.

However, Devon harbors a secret that would shatter his carefully crafted image: despite his status and outward confidence, he lacks the artistic talent he so publicly claims to possess. Unable to live up to the expectations placed on him, he has built his reputation on deception. During his time at the Bauhaus, he met Emil—a quiet, technically gifted student — whom he soon enlisted to paint in his stead. Emil became the unseen force behind Devon’s success.

Nicola's Characters

My two characters are Clara von Lichtenberg and Otto Hagen. These characters were developed to reflect contrasting perspectives within the same historical and social setting. Clara was inspired by the cultural tension of post-imperial Austria and the rising modernist movement in Germany. Her backstory was carefully crafted to give her depth and vulnerability beneath a confident exterior. Otto’s character grew out of the idea of silent witnesses—those who serve but are never seen. I gave him a quiet intelligence and a unique observational skill set to make him more than just background noise.

Clara von Lichtenberg

Age: 42 


Place of Birth: Vienna, Austria-Hungary


Current Residence: Dessau, Germany


Occupation: Art enthusiast, collector of modernist painting


Marital Status: married, no children

Backstory

Born into a declining Viennese noble family, Clara married wealthy industrialist Emil von Lichtenberg at 21. Two years ago, she left Vienna for Dessau with her husband, because he had a job at the Junkerswerke, but rumors suggest she fled a scandal involving forgery. She donated some paintings from her own collection to the Gemäldegalerie.

Appearance & Manner

Clothing: Tailored black silk evening dress with delicate embroidery on cuffs and neckline. Understated but expensive jewelry. Wears a single antique cameo brooch—perhaps a family heirloom.

Looks: Slim, pale complexion. Thick, dark chestnut hair worn open in soft 1920s finger waves, with streaks of gray at the temples. Striking dark eyes with a sharp, evaluating gaze.



Accessories: Always carries a small silver opera lorgnette, which she raises occasionally to inspect artwork—or people.



Manner: Cultured, reserved, articulate. Low melodic voice. Smiles with her mouth, rarely with her eyes.

Personality

Strengths: Intelligent, well-read, refined, highly perceptive



Weaknesses: Proud, secretive, distrustful, occasionally manipulative



Motivations: Secure influence in the art world; earn admiration—not pity



_Needs: _A sense of belonging to the cultural elite

Fears: Exposure of past secrets; decline in status; loss of control


Goals: Join the gallery board; promote a young artist under her influence

Otto Hagen

Age: 29 


Origin: Son of a Tailor from Dessau


Occupation: Waiter at Palais Reina, frequently assigned to private events and elite openings

Backstory



Otto grew up in a working-class home near the train station, the son of a quiet tailor and a sickly mother. He left school early to support his family, working his way from kitchen boy to trusted waiter at Palais Reina. Otto dreams of one day opening his own café, but until then, he watches the powerful closely and writes down what they’d rather forget.

Apperance



Clothing: Crisp white shirt, black waistcoat, subtle bow tie – always impeccable, never memorable. 



Looks: Otto is slim and wiry. His dark blond hair is neatly combed back, slightly mussed by hours of silent service. His eyes are a muted gray-blue.



Manner: Calm, discreet, and always listening, Otto moves through the room like part of the furniture — and that’s exactly how he hears everything. He doesn’t gossip, but he remembers. Names. Secrets. Patterns.

Personality



Type: Observant, discreet, soft-spoken



Unique Trait: Moves invisibly through rooms. Guests tend to forget he’s there – and that’s exactly how he learns the most.



Skill: Remembers names, snippets of conversation, subtle glances.


Motivation: Saving money to open his own café someday


Secret: Keeps a small notebook with vague symbols and notes – not out of malice, but self-preservation.



Suspicion: On the night of the murder, he saw someone sneaking through the gallery halls.

Writing these two characters taught me the importance of layering—giving each character not just goals and fears, but also contradictions and hidden desires. Clara is both strong and insecure; Otto is quiet but not passive. Balancing realism with dramatic potential was a key takeaway in this process. Both characters evolved from initial sketches. Clara was originally more villainous, but developing her backstory added nuance and empathy to her actions. Otto began as a generic servant, but grew into a subtle and powerful narrative tool through the addition of his notebook and silent memory.

Character Integration and Changes

As a group, we took all eight of our characters and looked at how they could be connected.

Frieda was barely changed, now, in her past, she went to school with Otto, so the two already knew each other. We also added a conflict between her and Wilhelm, since he caught her sneaking around and doesn't like journalists. This makes her seem a bit more suspicious.

For Martha, we gave her a crush on Wilhelm. Originally, she was supposed to still be holding on to the memory of her late husband, but we decided it would make the mystery more interesting if it’s revealed that she is secretly in love with Wilhelm.

There is a dispute between Jana, Devon, and Emil, which is one of the core incidents of the game. Apparently, one of Jana's paintings was stolen and is being presented as Devon's newest piece at the gallery opening. As a result, one of the characters breaks in at night to retrieve it. The exact structure of these events, and who did what exactly, has been adjusted many times to optimize the game flow.

We also decided to have a support group in our game which connects the characters of Martha, Otto and Jana and Wilhelm. This not only gives them an alibi for the crime, but also helps show more of the relationships between them.

3. Team Collaboration

At the start of the project, we began by brainstorming together as a group. Each of us shared ideas about what kind of murder mystery we wanted to design. We then collectively agreed on the premise and the historical time period – 1927, shortly before the opening of the Gemäldegalerie in Dessau.

After this initial discussion, we created a rough list of characters who could plausibly fit into the story, based on their occupations and social backgrounds. Each team member chose two of these characters to focus on and develop in detail. This included creating biographical profiles, personal motives, and potential connections to the crime.

We organized and documented all our progress, research materials, and ideas on a shared Miro board, which became our central hub throughout the project. There, we collected historical references (e.g., Bauhaus context, period-accurate names and professions, architectural details) as well as draft texts and visual inspiration.

Research Process

Our research process was both collective and individual. Each team member took responsibility for gathering background information relevant to their part of the story. We focused on understanding what was typical for the time period – such as daily life in 1927, social structures, and the cultural atmosphere of the late Weimar Republic.

To ensure historical accuracy and plausibility, we also consulted with staff from the Gemäldegalerie Dessau. Their insights helped us design our fictional characters and the overall premise in a credible way. In addition, we received valuable information, including a list of paintings that were actually exhibited during the gallery’s opening, which we used as inspiration for our narrative.

Game Materials

To support the immersive experience of the mystery, we created a wide range of in-world materials that reflect the style and tone of the late 1920s. Most of these documents were designed to appear as if they originated directly from police investigations, administrative offices, or private correspondence of the time.

These include police reports, newspaper clippings, receipts, train tickets, maps, and other historical documents – all crafted with careful attention to period-appropriate typography, layout, and language. The materials not only provide clues, but also help convey the atmosphere and socio-political context of 1927.

In addition, we created three interactive website click-dummies, which expand the narrative into the present day. These include a fictional museum website, a private blog, and an internal digital archive. By mixing analog and digital formats, we give players a variety of sources and formats to examine, making the investigation more dynamic and layered.

Storywriting Process

We developed the narrative collaboratively in several stages. First, we defined the main storyline and the key event (the murder). Then, we worked out the timeline of the crime, the alibis, and the hidden motives of each suspect. As a group, we discussed which clues, documents, and evidence players would need to discover, and how to present these in a way that felt authentic.

From the beginning, we deliberately aimed for a higher difficulty level, believing it would be easier to adjust the game later – simplifying clues or clarifying evidence if playtesting showed it was too challenging – rather than starting with an easy version and having to invent additional content afterwards.

Whenever someone wrote or edited content – such as character backstories, witness statements, or the final case resolution – it was reviewed and refined collectively to maintain a coherent style and tone.

What went well, and what were some challenges?

One of our most effective decisions early on was to use a shared Miro board to organize all our research, story ideas, and character development. It gave us a clear visual overview of the project and allowed us to collaborate smoothly, especially when working on different parts of the mystery in parallel.

However, one challenge we encountered was keeping the Miro board consistently updated. As our characters and storylines evolved, not all changes were reflected right away on the board. This sometimes led to confusion when creating game materials, as we had to double-check or revise elements that still showed outdated information – especially in character connections and timeline details.

Still, the overall structure helped us stay organized, and these moments became opportunities to revisit and sharpen the logic of our story.

4. Conclusion

Working together on the murder mystery game was both a rewarding and challenging experience.

Throughout the project, we all grew in different areas. Some of us improved in character design and storytelling, while others became more confident in visual design, world-building, or user interaction. We also learned how to give and receive constructive feedback, compromise creatively, and support each other through challenges.

Overall, this project taught us how storytelling, game mechanics, and design can complement each other—and how essential communication and iteration are in any creative group effort.