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Gathering Reference Material
I started with collecting inspiring photos. I believe that any content, whether it's images, movies, or music, is worth gathering at this point because it's not only meant to be used as reference material but also as a source of inspiration.
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Images of abandoned buildings and mansions from the early to mid 1900s were my main sources.
2D Level Layout
Level Flowchart
The Topic of Fixed Camera Angles
Fixed camera angles were once the preferred style for survival horror games. Due to the limitations associated with the power and memory of consoles at the time, this approach became popular because it allowed the use of pre-rendered backgrounds that enabled scenes to look far more detailed than using 3D objects. Tank controls were also paired well with this style, which gave players control of the movement of the character relative to their own position, so pressing up on the d-pad was always forwards, regardless of the camera angle.
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I am aiming to take what these classic games have established and create a game that uses fixed cameras in incredible ways, which show they can still make the player feel uneased and engaged.
Design Pillars
Immersion and Environmental Storytelling
Since I am using fixed camera angles for most of the game, I have thought of ways to take advantage of them both from a gameplay standpoint and a visual one. The fixed cameras will be set up like security cameras, with the use of a dim blue tinted filter, a blinking recording light, rooms labelled appropriately, and a timer to show how long the player has been exploring the premises. I intend to set up the cameras in this way as I want the player to continually have that chilling feeling of being watched by an unknown entity.
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Exploration
The use of keys to open locked doors will be employed as a way of showing progression. In the starting room, the player will have four doors that they can interact with, however, only one of them will be initially unlocked. Since I want to follow the Metroidvania style and have the player do backtracking in combination with exploration, by having the central room in the game act as a mark of the player’s progress, it is vital in showing how knowledgeable, experienced, and powerful the player is in comparison to how they were at the start of the game.
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Controls
Before starting my blockout, I experimented with a blended approach for the transition between fixed and free form cameras. Since the game is meant to be played on a controller, using the default control scheme from the Third Person Template on Unreal will simply not be sufficient. While this default control scheme can be perfectly serviceable for games with a more traditional camera, using the scheme in fixed cameras proved to be frustrating. This is due to how the player moves between each camera transition. Going forward on a controller in one camera angle and then ending up going left in the angle that follows, can feel very unintuitive and difficult to control. Thus, I have made the decision to take inspiration from Resident Evil by using tank controls. The tank controls and fixed camera must work in perfect synergy with each other. If not, then controlling the game could prove disastrous.
Framing
Figure 1: Use of windows to frame the player.
Figure 2: Important object in sight.
Figure 3: A unique perspective to solve a puzzle.
Figure 4: Feeling of realism when asked to find the very camera that is watching the player.
Figure 5: Being framed in a blanket of serene twilight before encountering the game’s biggest challenge.
Lighting
Figure 1: Use of lighting to show the player where to navigate first.
Figure 2: Use of flames from fireplace to give the room a warm, inviting feel.
Figure 3: Use of shadows to warn the player of imminent danger.
Figure 4: Showing the player the full picture of the room, while highlighting the key areas to inspect.
​Figure 5: Use of light bleeding to inform the player of hidden areas.
Reflection
Overall, I am very pleased with how the project turned out. I wish I had more time overall to polish certain elements, but I think I was able to achieve everything that I set out to do. The feedback provided by my test subjects is something I will continuously reflect on, when I pursue similar level designs in the future. This experience has incentivised me to make future games as atmospheric as this one, as I am very proud with what I accomplished. In comparison to the other modules, which I studied as part of this master’s degree programme, I consider this final project to be a culmination of everything I learned throughout the programme. It has led me to produce a very polished game that has been carefully considered and designed to make, potentially, my finest game to date. This is fitting for a final project.