My Work (on going)

Team – 11 people

Engine – Unreal Engine 4

Type – 3rd person Adventure/Puzzle

Players – One

Duration – WIP

Dates – WIP

Lead Level Designer

  • Levels Narrative and gameplay intentions
  • Puzzle design
  • Documents :
    • TLPM (Tease, Learning, Practice, Master)
    • Contrast and intensity curves
  • Blockouts (BSP) :
    • Lighting and points of view
    • Metrics and learning map
    • Puzzle tests
    • Environmental storytelling

Game Designer

  • Designing game systems
  • Integration & tweaking
  • Narrative structure

Project

Context

Jivana is our graduation project at RUBIKA Supinfogame school. With a team of 11 students we have to make a 30 min prototype. Currently, we are in pre-production phase. As a lead level designer, my role is to produce the level blockouts while respecting the design intentions and the narrative structure.

Concept

The player embodies Aélis, the pathfinder of a convoy driven to exodus by a cataclysm. Her ability to manipulate water allows her to shape nature and open the way for the community she is the guardian of.

Game Intentions

  • Fantasy of water manipulation
    • Aélis has the ability to grow up some plants to create platforms or bumpers
    • She can surf the water
    • She have a special jump on the water
  • Story of a prophetic journey
    • We tell the story of a community forced to flee its homeland by a devastating cataclysm. The only solution seems to be the refuge of a distant sacred cathedral.

Level Design Intentions

Discovery / Wonder

The player is permanently confronted to a contrast between nature and the remains of an ancient civilization.

He must understand how gigantic mechanisms such as aqueduct systems or hydraulic gates work individually and together.

A central and “macro” puzzle govern all the “micro” puzzles as well as the player’s navigation through the level.

The player must discover sumptuous and ingenious environments built around the omnipresence of water.

Convoy Depictation

Each level is built around the convoy path, the player looks to make the convoy progress on it.

Its main function is to regulate the rhythm and narrative intensity.

When the convoy is stationary, the player explores. When it’s in motion we want to use contextual cameras allowing the player to see the convoy and create original gameplay moments, such as a poursuit by the cataclysm.

 

Spectacular key moments

To support our intention of manipulating water, we want the power of Aélis, in addition to being fluid, to be at times impressive and powerful.

In the final resolution of each level, the staging must be particularly spectacular.

(This part isn’t currently into the prototype)

Methodology

1. Intentions and references

  • Use of contrast and intensity curves (semantic, pictorial, spatial).
  • Level structure and rhythm.
  • TLPM matrix and learning of mechanics.
  • Looking for references.

2. Workshop and sketches

  • Bricks and level design workshops using all the game mechanics.
  • Tests of game situations.

3. Level structure

  • Shaping the topography.
  • Adding main landmarks and points of view (composition).

4. Primary Blockout

  • Construction of a finishable level.
  • Set up initial tests to see the first problems.
  • Working on ways to guide the player through the level.

5. 2nd Iteration blockout

  • Improve the level by adding some details (environmental storytelling).
  • Implement the first assets guiding the player.

6. Feedbacks

  • Make many playtests.
  • Improve the level iteratively.