PROJECT BREAKDOWN
Star Wars Andor TV series
Uncharted 4: A Thief's End
MOODBOARD AND REFERENCES
I decided to focus more on the Technical aspect of the level keeping a Blockmesh form of it. I set the World Building as simple as possible and go with the implicit knowledges of what a forest is and use what George Lucas/Disney already created. It prevented me to design a whole new alien architecture and go with an inspired Uncharted 1: DF Jungle environments.
As there are many Forest Planets in Star Wars (Takodana, Endor) I took Yavin 4 and Aldhani as main references to give life to my newly created planet "Jaksa 4" (a jungle planet surrounded by large water and mountains areas).
MUSIC CREATES MOMENTUMS
As a pianist musician I grew up listening to some Classical musics then slowing moving on Orchestral music: Hans Zimmer, Steve Jablonsky work being an inspiration.
In my opinion "Gap" represents something who is about to happen:
imminent, mysterious, discret, which matches my Mission Pitch and Cinematic Introduction (You play as a Rebel Alliance assassin sent to Jaksa-4 to eliminate an Imperial Director during an undercover mission). In another hand, it also represents the difficulty to achieve this mission: the player will face something way bigger than him: the Galactic Empire.
As a Depeche Mode fan, I was pleased to see HBO use a remake of "Never Let Me Down Again" in the "The Last of Us" TV series at the end of the first episode. I landed on "Before We Drown" and instinctively thought that my protagonist had to die as (Spoiler Alert for Star Wars: Rogue One) Jyn Erso and Cassian Andor had died. (on one of the Scarif beaches surrounded by the sea.)
In Renegades, we already know that our protagonist must fail and maybe die (As we never heard of him lately in the franchise). The drowning would represents the fail of the Rebel Alliance, slowly fading after the Order 66.
LEVEL PITCH / PLAYER GOAL & MISSION
INTRODUCTION
Inspired by the Disney+ TV series Star Wars Andor and Uncharted 4: A Thief's End, "Star Wars Renegades" is a Solo Narrative-driven Cinematic Action-Adventure shooter in Third Person Perspective. The mission takes place between Episode 3 and Rogue One. The hero lands on an abandoned planet to infiltrate a R&D Imperial Base to kill a Director. The Empire is secretly developing a massive weapon which would later be called: the Death Star.
• Collaborators: Hélène AOUSTIN & Nicolas STERN (Voice Actors)
• Developed over 4 months (part-time & solo dev.)
• Unreal Engine 5
• Level Design (World) & Narrative Design (Mission/Storytelling)
• Cinematic & Animation Design
• Writing & Scriptwriting
• Blockmesh (CubeGrid) and minimal Set Dressing (Level Art)
• Visual Scripting (Blueprint) & Prototyping
• Technical Art (Niagara System / Lighting / Scene settings)
• Optimization (Performance: World Partition & Data Layers)
• Third Paty Ressources:
Epic Marketplace Tropical Jungle Pack / Dreamscape: Stylized environment / Casual Soldier in Respirator / Infinity Balde: Effects / ALSv4 by JakubW / Terribilis Launcher / UE5: Underwater Blueprint / ND Uncharted 4, Depeche Mode and Hans Zimmer Musics / Quixel Bridge Megascans - Sketchfab - CGTrader assets, sprites and textures
GALLERY OVERVIEW
In addition to my Level Design skills, I wanted to focus more on the Narrative and Technical aspect of the demo by creating:
- Cinematic and Cutscenes (with the Sequencer and the Tech. Art Niagara System).
- Scripted events (gameplay, cameras, seamless transitions) with Visual Scripting and Animation / Sequencer.
- Dialogues to develop Characters relationship with Scriptwriting/VOs.
- A consistent story in the Star Wars universe to champion my writing skills and narrative / game structure methodology.
GOALS
FINAL BLOCKMESH LAYOUT
INTIAL STORY PLAN (FROM THE REBEL ALLIANCE PERSPECTIVE - THE CURRENT LEVEL HAPPENS BETWEEN STEP 01 & 02)
STEP 01: The Arrival on the occupied Planet.
STEP 02: Prepare the Mission with Sabe.
STEP 03: Assault the IMDAWR Imperial Base.
Infiltrate the Base and blow it up killing Cyone.
Reach Sabe at the Tower in the Ruins area.
Land unseen on Jaksa-4.
INTRODUCTION & JAKSA-4 REVEAL
The level opens up on an introduction cinematic giving to the player its mission brief, introducing its goals, characters and the story:
Jaa is an assassin part of the Rebel Alliance. He is approaching Jaksa-4: an occupied planet by the Empire in a stolen imperial shuttle. He is in contact with Sabe, a Rebel Alliance spy already on the planet who tells him that the target they aim to kill just arrived. Surprisingly, Jaa's shuttle get shot at, and crashes on the planet.
THE JAKSA-4 JUNGLE
The player journey starts on a cutscene where Jaa survived miraculously to the crash.
When he wakes up, Sabe reminds him the mission: to join her at the tower in the ruins in the valley located between him and the imperial base.
THE SHUTTLE CABIN WRECKAGE
Jaa lost his gear during the crash: a survival kit and his primary weapon, a sniper.
He escaped the Shuttle Cockpit but the Cabin wreckage where his weapon should be stored isn't there. He must find it in the Jungle to continue the mission.
This is a new objective for the player.
THE CRASH SITE
After some adventures, Jaa finally found the cabin wreckage. The crash made a massive impact trench through the forest. Jaa jumps in it sliding to the crash site.
Unfortunately its gear isn't there, he must continue through the dense and claustrophobic forest to find a way point and locate Sabe.
ACT II
THE TOWER IN THE RUINS
Jaa, on a vantage point locates the tower set at the top of a mountain in the valley: a perfect spying location to report on imperial operations.
These ruins are considered abandonned by the Empire, them not knowing that Sabe's crew hides here since the last few months.
Initially, Jaa was set to land on Jaksa-4 unseen to join Sabe at the advanced Rebel Alliance operations basecamp located in the Ruins. The HQ is installed in a tower of this mountain village where Sabe is waiting for Jaa to plan the imperial base assault and start the mission.
THE ANCIENT VILLAGE
Plot Twist: When Jaa felt unconscious because of the crash, Imperial squads located his position. The jungle being too dense to land on the crash site, the Imperial Stormtroopers set a blockade at an abandonned ancient village waiting for Jaa, weakened.
These villages serve formely as a resting place during pilgrimages. The previous population: the Jaksians living on the planet and having now fled because of the Empire presence, made pilgrimages to receive the grace of their gods and would stay for months praying before returning back to the valley.
Those resting places set in mountains are Sanctuaries recognizable by circular arches above them. Jaksians were great climbers and a peaceful civilzation.
THE IMPERIAL BUNKER BASE
From Jaa current location, his only way down into the valley to join Sabe at the tower is to go through the mountain cavity where Jaksians used to climb from the valley (their hometown) during theirs pilgrimages to reach Sanctuaries. Stormtroopers blocking the only way mean that Jaa will probably have to fight.
To reinforce enemies menace and presence, I set a vista on a vantage point, revealing the Imperial Bunker Base that Jaa must infiltrate after reaching Sabe at the Tower.
He sees a TIE Fighter flying by toward the Bunker to inform the player that Jaa is the most wanted. He also see an Imperial Shuttle taking off searching elsewhere and stormtroopers having a break far from their squads. Jaa must remain discreet.
THE CAVE
Jaa is motivated to reach its initial objective, he climbs on the river cliffs to land in a Cave leading behind the enemies through a narrow crack.
After some climbing, a Jaksian God statue reveals in the cave. No doubts, Jaa is in the pilgrimage Sanctuary.
SNEAK IN BEHIND ENEMIES IN THE GARRISON STORAGE
Coming from the cave, Jaa arrives directly behind enemy stormtrooper guards that are keeping an improvised garrison storage of weapons and ammos.
After eliminating the two stormtroopers, Jaa gears up and starts his infiltration assault.
The player can choose both play style: Action fight or Stealth combat.
THE ANCIENT SANCTUARY VILLAGE
A third part of Jaa's ship crashed here, Stormtroopers invaded the place making sure to capture and deliver him to Director Cyone. Jaa must fight to not look too suspiscious giving up so easily to be brought to the Imperial Base knowing Cyone observes him.
Climax: Jaa fights in the village ruins to pass over the enemies.
He spot the mountain cavity but must eliminate stormtroopers squads first.
THROUGH THE MOUNTAIN CAVITY
After the combat sequence, Jaa finds a way to climb up to the Mountain Cavity.
Suddenly, coming from nowhere, the TIE Fighter seen previously interrupts the silence of the scene rushing and firing to Jaa.
Jaa runs to escape jumping in water.
RESOLUTION: JAA'S FATE
The level ends on a cutscene where the player sees Jaa unconscious -drowning.
At that moment we do not know if he survives to the TIE Fighter ionic blasts or not.
The level ends on that scene.
ACT III
CORE GAMEPLAY
DETAILED LEVEL NARRATIVE STRUCTURE
ACT I
1. EXPLORATION
PLAYER NAVIGATION
Throught its experience, the Player will use Game Ingredients and Mechanics who support the Fantasy, the Core Game Pillars and Themes of the Level.
Lost in an unknown Jungle the Player will use Traversal Navigation to get through it as Ledges to climb, Beams to cross, Ropes to swing, etc. Ingredient like Binoculars will allow him to have a better vision of areas to enhance the "Discovery" theme and counter the emotional "Get Lost" theme.
LOOTING & ROAMING
The overall level is designed as a linear structure. The more the player will progress through the environment, the more the level will open paths. The player will have more agency as he is more in control of its hero navigation allowing him to easily navigate in the map.
Paths, and design techniques as Bait & Switch, Framing, Affordance, Camera, Movement, Sight/Leading Lines will naturally lead the Player bringing out its sense of Exploration and Curiosity. He is rewarded with loots and lore pieces.
DEATH ZONES & RESPAWN
I set up a quick Character teleport on a ckeckpoint when falling in a trigger box. With this simple technique I frame the Player experience not to make him start at the beginning of the map but also teaching him where he should not go, what's the playable area, what are the challenges in it, to allow him to flow within the level.
GAMEPLAY SCRIPTED EVENT
There are Breakable version of traversal ingredients: beams or wall ledges that break under the character weight. The player will fall using them, opening new paths, bringing uncertain and surprising situations for both the Hero and the Player.
It breaks traversal system design. Enough to surprise the player, not that much to make him upset and quit, the goal is not to penalize him but to challenge and recycle the gameplay loop by increasing the tension, curiosity and pace while focusing on the Narrative aspect of the environment and Hero state of mind/emotions to improve the immersion and storytelling (being lost in the dangerosity of a Jungle but discovering it by finding new paths heading to the Visual Objective thanks to Landmarks and Framing).
2. STORYTELL A CINEMATIC EXPERIENCE
ENVIRONMENT STORYTELLING SCRIPTED EVENTS
Mixed with gameplay sequences, I wanted to tell Narrative storytelling sequences through dynamic environment like Ships flying by, enemy characters having a chat, and so on.
It enhances the world credibility, make it living and believable to let the Player discover and get immersed in the World Building.
It also tells stories through the environment and level design, pacing the experience, take the Player control from him to let him appreciate these scenes.
CINEMATIC
One of the big challenges and the "why" I first did this project was to deep dive into storytelling aspect. First by writing a script and story, but also and above all to challenge myself technically to tell stories through gameplay and cinematic.
Before creating cutscenes with the Unreal Sequencer, I had a draft of the introduction space cutscene and the drowning ending cutscene in my head for 6 months. I kept iterating on them as I wanted to have a strong level start to welcome the player.
These scenes introduce and ends the level and story to the player, taking him by the hand into the fantasy but it also serves as a technical showreel to showcase my work with the Niagara System and Master Sequencers.
SCRIPTWRITING & VOICE ACTORS
At the very end of the projet some friends of mine saw the trailer and proposed me to voice over the characters. With some reinforcement we started some first drafts, giving them my intentions, characters emotions and feel through the scenes. We ended up collectively re-writing some lines, the last conversation between Jaa and Sabe at the end before the fight was a last minute addition. I am aware that it can be merged into the stealth sequence resulting on a contradiction of systems (Jaa speaking loudly with enemies patroling nearby) but as this was a personal project the goal was to have fun on that one adding some lore material.
It was my first time directing actors, the main challenge was doing it remotely which is more complicated to demonstrate our vision for the characters we created and the scenes we envisoned.
SEAMLESS CAMERA TRANSITION
Star Wars Renegades being a Cinematic Narrative-driven Action-Adventure experience, I focused on having gameplay fading in the Narratives and vice versa. I wanted it to flow like a movie so the player could not see the transition between gameplay and narrative sequences.
I used third party resources animations on Mixamo, the first cutscene to gameplay transition has a lack of character animation blending. But the camera remains seamless: I used the cameras in sequencer switching from the moving cinecam to the gameplay charcter (3C) camera.
ENEMY VOICE LINES
The project wasn't focused on Combat Design but I still wanted to introduce the presence of enemies through the Player experience: I used Mission phase techniques from 'Spectator' to 'Actor'.
The first enemy encounter is a narrative scripted event where enemies didn't noticed the player rather talking to each other on a break. At that moment the player can do nothing to attract them. It serves to build up the tension. The second encounter is a stealt fight and the third one either a Stealth sequence or an Action Combat sequence where the player can choose his gameplay style.
3. ENEMY ENCOUNTER
MISSION PHASES
Mission phases in a linear level approach is set to build up the intensity, give player story material or giving some mystery by anticipation or the mood for the next phase.
On the first encounter, Jaa must remain quiet to bypass the enemies who didn't noticed him. This is a scripted sequence, not a tutorial but it will give insights to the player on how to bypass the actual stealth gameplay sequence (the player will face during the second enemy encounter at the Garission Storage location).
Mission Phases setup pace and Player strategy. In this project they are setup as:
1- Approach Zone: The Player evolves in a Safe area, planning his approach.
2- Infiltration Zone: The Player sneaks in, approaching its objective, there are LDI such as patrolling enemies, covers to hide or fight.
3- Fight Zone: The Player is near the objective, with more chance to get caught.
360° APPROACH ZONES DESIGN (GAMEPLAY FOCUS)
The first half of the level is a linear map onboarding where the player follow a track led by design techniques making him navigate naturally in the Jungle.
As the project was rescoped, the Combat phase at the end was originally the Shuttle Crash Site. Redesigning the area by putting a large fight sequence here launched the pace and intensity through the roof.
For a tutorial level I am aware that one or two enemies are enough to onbaord the player on combat systems but for the end of this chapter I wanted Jaa to face an epic and wide area giving the player some freedom to explore or to find the right combat approach depending on its playstyle contrasting with the first half of the jungle area.
I made the player know that he can go in "Stealth mode" when eliminating the two guards in the garisson storage area before the space opens on the vilage:
Here I set a 360 approach design methodology with a "funnel" Gameplay Focus transcribed by 3D environment and LD ingredients density.
Basically, 360 degree approach is "how to replicate the pace and tension controlled in a linear level on a semi or open world area."
To give an intensity and sense of progression I designed 3 successive "Approach Zones":
1- Analysing. 2- Infiltrating. 3-Combat. Each Zones has defined architecture and ingredients who will support the Player gameplay following my Gameplay Focus: As the Player evolving toward its objective in the village, he will not have anymore bushes to hide in but only concrete covers to make him face to face on an enemy patrolling.
The size of my Approach Zones reducing the more the player evolves in, I could have set less and less enemies inside zones to equal the tension. But as I wanted to translate my "funneled" Gameplay Focus, and make the Player feel trapped ; increasing the enemy size would result in an Action Fight which matches the storyline.
PLAYERS AGENCY & NO MAN'S LAND
As the player get used to the game character mechanics and learn its objectives and ingredients to navigate by himself in the level, I openened the Player path at the cave section right before this Combat area. It prepares the player how to navigate in the environment, asked to make choices.
The Combat area is filled by enemies patrolling, the Player enters the space in a Safe Approach Zone who will serve him to analyze the Zone and planify a tactic. At the moment where he steps in the Infiltration Zone that's where the challenge begins.
The Player can be safe if not seen in bushes but is surrounded by enemies. He can start a Combat or remain stealthy to overcome enemy squads and reach the framed objective.
COVERS & SAFE ZONES
Level Design ingredients support the Combat Area Gameplay Focus: The more the Player evolves toward the objective, the more he get exposed being funneled by the enemies density by meter square in the environment.
Bushes are considered as Safe Zones to hide within: there are plenty of them in the Infiltration Zone, whereas in the third and last Mission Phase ; the Fight Zone, there are only concret walls to hide behind or get covered during a skirmish with enemies. In this Zone, the Player must counter enemies being exposed or face them. The other option is to come back to the previous Infiltration Zone to breath or plan a new tactic.
ENEMY SPAWNER (CUT)
For the Fighting sequence, I tested differents kind of approach of the combat.
The design leans from a Stealth gameplay toward an Action Sequence so I originally created a small arena encounter with covers where waves of enemies could challenge the player. I ended up cutting this feature.
In the end, as I didn't focus that much on the Combat Design, the AI behavior has basic functionalities from the ALS template which make my Combat pretty easy. So I went with an enemy design density to bring tension.
Ironically, the AI behavior fits with the Stormtrooper lore behavior, they are bad soldiers and easy targets to shoot at. As there were 2 Imperial Shuttles, Stormtroopers squads group 10 stormtroopers each. I have 16 in the Village, 2 as Guards, 2 on a Break.
DESIGN TECHNIQUES
LEADING THE PLAYER
ONBOARDING LOCOMOTION
I set this level as an onboarding where the Player learns game mechanics and ingredients on the Traversal aspect of the gameplay first.
The goal was to propose clear objectives on a learning curve where they must feel coherent and intuitive for the Player.
The starting area propose to mantle up on higher platforms then jumps. If the Player fails his jump he would fall in water having the opportunity to try again without punishment.
As he progresses in the environment, jumps for example would be more complex to achieve with a death condition if the Player fails. It proposes a difficulty and intensity curve to challenge him and have fun. The difficulty musn't be too high at first to not frustrate the Player unless this is a wish or a bias for the game / player target audience.
READABILITY: LEADING LINES & PATH FRAMING
As the objectives must remain intuitive for the Player, design techniques such as Affordance, Breadcrums, Leading Lines, Framing, Forshadowing, Lights, Shapes and Colors would make the player navigate freely without being restricted if not by the playable area borders.
I wanted to create Points of Interest created thanks to Visual Composition to notify the Player where he has to go knowing how he has to do it. It increases readability and Player engagement to continue to evolve within the experience.
AFFORDANCE
Affordance explains to the Player if he can use or how to use a specific object or Level Design Ingredient:
Wall edges are only located on walls, placed horizontally telling the player he can only use them to climb up, down, to go to the right or left. Moreover, their color and texture stands out from the walls they are put on to be visible from long distances, communicating the player he is able to use them.
Cartboard carpets on ground serve to tell the Player that he can land on them safely and can cover the right distance jumping to the next platform the cartboard is put on. It serves also as breadcrums for Player navigation.
CAMERA LOCK
Forced Cameras are narrative techniques sprinkle in gameplay sequences to focus on important area without having the Player to miss it out.
They can show an objective, a focal point, a landmark, or a narrative gameplay scene to enhance the Player Progression and Navigation, World Building and Lore Story, change the Level Rhythm or support a transition to a non-interactive sequence.
MOVEMENT & LIGHTS DRAW THE EYE
I setup movements objects to grab the player eye:
-Enemies patrolling in the camp would announce to the player a future fight: The player is funneled to a vantage point showing him a focal point vista where enemies are patrolling. It draws the Player eyes to let him know where the action will takes place.
-A flying ship passing by, over the player and toward the landmark Imperial Bunker Base objective then heading to the right, would show the player the current objective but also where he has to go next.
-Lights (God rays) coming from a canopy lead the player in the environment. It naturally draws a leading line on where the player has to go.
FRAMING THE OBJECTIVE
Framing uses Visual Composition Environment and Photography techniques to compose a scene as a post card to highlight important informations or objectives to Players.
It layered few architectural or negative spaces, showing or blocking lines of sight, using environment shapes and colors to grab the Player attention on POIs to reveal an objective, a gameplay or a narrative scene.
BAIT & SWITCH
Bait & Switches are great navigation and framing / leading lines / visual composition techniques to make the Player navigates. By this I attract the Player to a location, make him know that the objective he was looking for wasn't that one (or is minor to what comes next) to make him turn around toward the actual objective (who can be a reward, narrative sequence or another path of exploration).
This technique allows to break the level pace, bringing some surprise, recycling the Navigation loop to let the Player curiosity shines. It can also serves Narratives purpose leading to a plot twist for example (the corridor switching into an Imperial environment in Star Wars Jedi: Fallen Order).
PLAYER PATH & AGENCY
Star Wars Renegades beginning playable area being set as a linear path serves the onboarding section to let the Player discover game mechanic and elements without to be lost in the environment heading directly to the next objective.
The Player can be rewarded on Secondary Paths if he craves for exploration. Players Path and Navigation support Level Themes and Game Pillars.
As the Player get used to the gameplay features, opening several paths will set the Agency to let him decide what's the best option to choose at one specific moment. It increases his interest in a more systemic gameplay.
VISTA & VANTAGE POINT
The level takes place in heights area. It allows me to funnel the player on Vantage Points or Vistas revealing Landmarks / POIs.
I wanted the Hero Character to feel trapped in the heights, obligated to take walking trails to reach its objective. The Player would see these objectives time to time on vantage point through framing on vista to get rewarded and have this sense of progression.
BRING CURIOSITY, INTENSITY & SURPRISES
FOCAL POINT & LANDMARK
Leading the Player naturally was a must technique to reinforce the immersion. Setting Landmarks, recognizable objective from a far would show the Player where to focus, anticipate potential gameplay and world location for the next chapters.
In this level, the Imperial Bunker Base and the Tower serve as Narrative set pieces to build up the lore and world building while the Enemy Village Camp and the Mountain Cavity are actual objectives to reach.
FUNNEL BEFORE REVEAL
Objectives are shown depending their utility in the level:
-Level Gameplay Objectives are announced as Hard Reveal (Enemy Village Camp) to communicate to the Player (discovering the objective without a transition) that this is the objective he must / will reach in few minutes.
-Soft Reveal serve to show the Objective smoothly. The Player chooses the intensity of the reveal with the camera. It informs him that, this objective might be the main of the game but isn't the current focus of the level and maybe will appears in next chapters.
In Renegades, objectives shown with Hard Reveal are Discoverability Objectives whereas ones with Soft Reveal are Findability Objectives.
DISCOVERABILITY & FINDABILITY OBJECTIVES
The introduction tells the Players that he has two primary objectives:
1- Reach Sabe at the Tower
2- Assault with Sabe and her squad the Imperial Bunker Base.
However, Jaa crashed on the planet and the plan got updated:
The Player has now new objectives to complete, objectives who were not planned:
1- Find Jaa's / your gear at the Shuttle Wreck on the Crash Site
2- Get through the Enemy Camp to climb the Mountain Cavity, then going down the Valley to reach Sabe at the Tower in the Ruins area and continue the initial mission brief.
This allows to surprise the Player, bringing its curiosity and interest in the Story and Gameplay, make him feel the World and Story are updating on demand reducing repetitivity, evolving in a trustful and always living environment.
MYSTERY BY ANTICIPATION
Jaa informs that he has to find his gear in the other part of the crashed imperial shuttle cabin and Sabe a bit later on tells him that there are now enemies ahead: this spoils the upcoming fight.
It brings some mystery to the story, at that moment the objective of the Hero/Player is to find Sabe, and anticipating some fighting sequences brings curiosity and narratives.
The implicit knowledges of what a military gear is, and what enemies are, place the player on one path that maybe the game will not take. The player is in a constant expectation on what might happen and when. Does he will fight or not? He didn't find the gear, if he will have to fight, How then? It increases the immersion enhancing the bond between the player and the character he embodies.
GAME MECHANIC PACE
One of the solution I choose to build up tension is through gameplay intensity:
The player learned basic locomotion: to walk, to jump, to climb.
I increased the gameplay intensity and difficulty by challenging the Player to use the maximum from a gameplay mechanic: The Player must run then jump to perform a long jump over a gap or climb faster over a falling ledge to not fall or lose some time.
By this I kept a gameplay pace to challenge the player offering him new opportunities on traversal gameplay.
As the gameplay might be repetitve I tried to reduce the Gameplay Fatigue by offering challenges lasting less than 15-20 seconds. Over that line the Player could feel bored by a gameplay that drags on.
REWARD
DENIAL & REWARD
The level start with the two main objectives being hidden behind trees and fog. It foreshadows a future Reveal of locations Jaa needs to go to pursue the mission: The Imperial Bunker Base he needs to infiltrate after reaching Sabe at the Tower.
The second clip shows a path leading to a vantage point. The path closes, forcing the player to take another path who finally leads to the initial vantage point. Once the location is reached, the player is rewarded by a collectable.
The last sequence reveals a Vista where the player sees a glimpse of the Enemy Camp Village. Through his exploration in the Jungle, the Player will see different view angles of the Camp as he approaches it giving a sense of progression in his journey.
COLLECTABLES
The player is rewarded by many ways at the end of gameplay or narrative sequences.
For example if he achieved to perform traversal sections, whether at the end of a gameplay/narrative beat or at the end of a narrative act or the whole level.
He can be rewarded by gameplay loot giving access to a new game mechanics or ingredients to play with, a narrative twist, characters or story progression through a cutscene or dialogues, ending cinematic and lore collection items and artworks.
Through its journey, the player is also rewarded if he craves for exploration.
Collectable is a system that enhances Core Game Pillars.
PERFORMANCE
ONE WAY
One Way, Gates or Non-Backtracking CheckPoints serve to prevent the Player to return back to the previous location.
It can serve Narrative purpose but are mostly used to optimize the game performance (Occlusion Culling / World Partition - Data Layers) to unload and load new parts of the map and maintain a level of quality and frame per second stability. It also allows the Player to build its own Mental Map of the map environment knowing where he can or cannot go.
ART
LEVEL ART
SET DRESSING & VISUAL COMPOSITION
In additon to the blockmesh creation and iteration, I wanted to focus a bit on the Level Art to propose an Artistic Direction and make the demo more immersive -sharing my art settings intentions.
I created Visual Composition Environments who serve me (in addition to the Blockmesh architecture) to lead the Player in the Jungle even though the blockmesh in itself should be enough to guide the Player.
ENVIRONMENTAL ATMOSPHERE
The planet having a blue-green color atmosphere comes from the World Building indicating that Jaksa-4 is composed by large and dense forest and water plan areas.
I set a Post-process Volume working on Sun Directional light, Sky light, atmosphere, fog and shadows to have that blue-ish filter above the vanilla/original art settings.
The art direction must aligned with the Core Pillars and Theme where the Player is lost in an unknown Jungle. That dense forest needed to be dark to crush the Player under that atmsophere weight
TECHNICAL ART
NIAGARA SYSTEM
I used the Niagara FX System to create the asteroid belts.
As I wanted to focus on the narratives of the level, building an introduction cinematic was on my to-do list. Using the sequencer for translation animation or setting up the Sky atmosphere to integrate textures on it was the easy part.
I am not a FX Artist, after many tutorials followed I get a result I am happy with.
Basically with the Niagara System I created variables I can tweak in the Outliner to set the Shape and speed of the Asteroid belts in the Viewport.
LEVEL PLAYTHROUGH (30MIN)
CLOSING THOUGHTS & REFLECTIONS
STAR WARS: RENEGADES
Narrative-driven Cinematic Action-Adventure (TPS) Project
IDEATION - PRE-PRODUCTION CONCEPTION
INSPIRATIONS & FIRST THOUGHTS
I watched the Star Wars Andor TV series in September 2022 and get inspired to have a game prototype with a similar concept mission. I am an adept of Action-Adventure games so I decided to use the Advanced Locomotion System to have a game ready 3Cs, Gameplay Mechanics and Elements / Ingredients to only have to focus on the Writing, Level, Narrative, Cinematc Design and Scripting of the prototype. I wanted it to be a Third Person Shooter focused on exploration and a bit of combat as an Uncharted-like vertical slice, the player being a spectator of this cinematic story. In the meantime I played Uncharted 4 on PC but really started the development process a year later as I had enough freetime to tackle the project.
LEVEL PLANNING
Before diving into Paper Maps, Top down Overviews and Rough Blockout Layouts, I like to plan the game structure with a timeline:
It allows me to have a better understanding of the challenges I will face and decide the scope and the structure of the level. With this document I fully define the player experience using a Holistic Design approach (my gameplay, 3C, pace, environment, story, music serve the Narrative Cinematic Action-Adventure genre with a focus on characters emotions through gameplay, dialogues and narrative cinematics which follow one another seamlessly through the architecture and environment. With this, I have a clear vision of what and where are the:
• Level Difficulty to setup Intensity phases (Tension vs. Calm/Silent moments)
• Level Pacing (Rhythm)
• Player Agency, Paths and backtracking
• Story Structure in 3 or 5 acts (trigger, plot twists, climax & solving)
• Storyline and Quest / Mission Pitch
• Areas and architectural design & art references
• Level Design Environmental Storytelling (art and visuals / dialogues and character-monologues (VOs/barks) / scripted environmental events / sound design and musics).
• Scene (Map/Level) parameters: day vs. night / weather / technical design and art.
• Space Occluders for Occlusion Culling and Perfomance Optimization
(Draw calls, Level Streaming or World Partition and Data Layers)
• Gameplay Elements (Ingredients) and Mechanics (Player Inputs) to reinforce:
- Fanstasy (Explorer/Adventurer)
- Emotional Theme (Feel Lost) & Level Theme (Discovery)
- Game Pillars (Fights / Traversal Navigation & Exploration / Cinematic Experience)
• Gameplay and Narrative Beats & Level duration (30min)
• Narrative Cinematic/Cutscenes areas
• Gameplay Approach Zones (Mission Phases) to the Player objective. Eg:
1. Analysing the Approach Zone
2. Infiltration Zone (Stealth Area)
3. Encounter Zone (Fight Area). Setup their size, game objects (ingredients) to enhance their Gameplay Focus (Eg: Ingredients like Bushes and Enemies positioned back faced
(Patterns Ingredient) support more a Stealth Gameplay Focus.
For a better understanding on how to plan a Level I highty recommand this subject article available on the "World Of Level Design" website by Pete Ellis (former Guerilla / Naughty Dog) here.
LAYOUTS OVERVIEW - PAPER DESIGN MAPS
The level is structured as a linear layout. There is not that much Player Agency at its start as the player needs to adapt to the gameplay thanks to the onboarding / tutorial who heavily controls the player experience and paths. The player will learn gameplay mechanics and elements (ingredients) throughout its experience while evolving alongside narrative beats and the storytelling (environmental storytelling / dialogues / cutscenes) of the level.
Through its achievements, he is rewarded with story, new gameplay or objectives elements and collectables as he progresses in the environment (mostly when he craves for exploration).
BLOCKMESH PROCESS
PRE-PRODUCTION
A SANDBOX TO LEARN
Star Wars: Renegades was a project I had in mind since I got graduated from university. I wanted to champion my Level Design skills but also learn new one and get out of my comfort zone diving into Technical Design Scripting and Art fields. Moreover, the wish to challenge myself on the writing aspect brought to the project a whole design preparation where I created a planet, characters and their relationship, environments and story based on the Star Wars World Building and Lore.
In the end, I was evolving during the production process, there were new things I wanted to dive in, which didn't fit my original intentions and design. The project became more and more a sandbox to learn, try and test. For example there is not Star Wars OSTs in the demo, we can hear some Depeche Mode which makes a non-sense if we want to stick to the original Star Wars Lore. But it gaves me some ideas for the second project who will be the next mission after Jaa's drowned.
POST-MORTEM: WHAT WOULD I DO DIFFERENTLY AND BETTER?
This project as a whole was a great project to learn: I would focus more on the Combat Design, AI behavior tree, design techniques and add Urban areas to champion my blockout skills.
The onbaording design: I would not set the project as an onboarding because it limited my gameplay pace, difficulty and tension which are slow in the first half of the demo. I wanted to had pace and tension but would break the onboarding flow, which I did in the second half of the map at the Cave and the Enemy Combat Village areas. I am aware that the latter is way bigger than the others which put a lot of contrast in the Player progression and difficulty curve but in the end I wanted to use this project to test, iterate and gain new knowledges. On a next project I would focus more on tense gameplay and narrative beats with a proper Player progression.
The environment architecture: In my opinion the areas would have been more inspired, the Shuttle Crash site area is too small, the water caves are not that much inspired. The Combat area can be hard to read because of the trees density. I would focus more on Urban areas as the Ancient Village was mainly made of one arch block.
Design techniques: As my areas are small due to the claustrophobic feel I wanted to give to the Player, Bait & Switch use cases are too shy. Same for the last puzzle which is too long with a lot of distance to cover pushing a crate and not that much interesting / challenging.
Characters Dialogues: Despite I am very happy of the Helene and Nicolas contribution on the voice over of the Sabe and Jaa characters, the last dialogue between the two is bad framed. As this was a last addition, the Player can run throught the Combat area with the Characters still speaking loudly. It breaks the immersion. I would set the path length as long as the dialogue duration time to prevent the Hero to arrive in the Approach Zone speaking.
Combat design and AI: The combat design and AI had never been design and programming field I wanted to focus on. I am aware that there is a lack of design in the Combat area: Enemies feel empty and clueless. For the next project I aim to focus on AI behavior and scripting.
Thank you for reading.
3. Additional Mission Brief (Trigger Element).
2. Main Mission Brief after Jaa' crash (Cutscene).
1. Story & Mission Introduction (Cinematic).
"Meet Sabe (companion) at the Tower in the Ruins."
"Find your gear in the Shuttle Wreck on the crash site."
Jaa (hero character) flies to Jaksa 4.
6. Objective updated (Plot Twist).
4. Additional short term Objective Completed.
5. Sight on a focal point (The Tower where Sabe awaits).
Sabe tells there is an enemy camp ahead. Must get through it to reach the Mountain Cavity then Sabe.
First vista preview on the short term objective (current objective): Sabe Tower.
Look for your gear within the wreckage area (Result:
No gear found nor Jaa sniper).
7. Vista on a Landmark & Enemies patrolling to find Jaa.
9. Stealth combat area.
8. Sneak in behind enemies to get to the Enemy Camp.
Sight on the long term objective: The Imperial Bunker.
Get through the Cave.
Eliminate enemy Guards.
10. Fight combat area (Climax).
11. Puzzle area.
12. Jaa's drowning (Resolution - Cinematic).
Jaa escapes from the TIE Fighter but drowns.
Find a way to get to the Mountain Cavity.
Get through the enemy Camp.
ITERATE TO WELCOME APPROPRIATE SOLUTIONS
I changed and make important blockout and pacing iterations during the process where I tried few things and ended up cutting unappropriate ideas in the continuity and for the good of the project. It gaves me the opportunity to re-scope the experience and propose a more suitable pace being cohesive with my Level Theme and Game Pillars.
First half of the level got refined to maintain a constant rhythm, the Cave and the Forest section in the first draft iteration at the end of the level got cut.
GAME & NARRATIVE DESIGN BREAKTHROUGH
EARLY BEAT SPREADSHEET AFTER RESCOPE LEADING TO A REDESIGN OF THE MAP
Here is the first design walkthrough draft showcasing the Pace through Gameplay and Narrative beats, environment locations and player objectives.
CURRENT LEVEL FLOW
During the pre-production Greybox phase I played at the whole Uncharted 4 game, taking inspiration from its Level Design. Got inspired by Emilia Schatz work (Naughty Dog) available here.