As a relatively big team, we could split our roles, so each person can work on a separate aspect of the game. I decided to volunteer as main level designer and second programmer. Level design was something I was always inclined to do and blueprint programming is completely new to me area I am very keen to explore.
Working on this game prototype as the main level designer/modeller, I aim to deliver a meaningful and atmospheric game environment within the functional game level. As a second programmer, I would contribute to the process of making the various game mechanics work. As a concept artist, I would seek for and create a valuable reference I could later use within the level and environment creation. Achieving goals within the roles requires creating concept art, the prototype level, the level itself, test proofing it, and helping to program various game functions.
Throughout creating the prototype, I also aim to explore the theory and methodology of the level design understood as the tool for communication between game designers and game players. (Totten, 2014) Creating the game using this approach requires designer to achieve 3 goals: Adjustment of Behaviour (to create a meaningful play for the user), Transmission of Meaning (to encapsulate narrative and ideas of the game), and Augmentation of Space (to create a ‘language’ within the gamespace that assists with augmentation of behaviour or transmission of meaning) (Totten, 2014)
Creating the level in our game prototype, I am planning to work using the concept of ‘core mechanic’ as main workflow. Using this method, the workable level prototype is aimed at helping the designer to understand what the game core mechanic is and how the play becomes meaningful over time (Zimmerman, 2003). Beginning from this core, other actions are added that define the rules of the final game product (Totten, 2014).
I am planning to work primarily in Unreal Engine and use blueprints as a programming method, excluding concept art (Adobe Photoshop, non-digital drawings) and creating textures (Adobe Substance Painter). Creating the level and environment I am going to use production assets available within the Unreal Engine and online and only if the time allows, I may create my own (Maya, Blender).
Creating the concept art, level, and environment design, I am willing to seek and explore various inspirations within the gaming industry and also include the wider spectrum of the art—especially cinema.
Bibliography
Kremers, R. (2009). LEVEL DESIGN : concept, theory, and practice. CRC Press LLC.
Laurel, B. ed., (2003). Design research : methods and perspectives. Cambridge, Mass: Mit Press.
Totten, C.W. (2014). An architectural approach to level design. Boca Raton, London, New York CRC Press.
Yang, R. and Yoder, A. (2019). The Level Design Book. [online] Leveldesignbook.com. Available at: https://book.leveldesignbook.com/ [Accessed 10 Dec. 2024].
Laurel, B. ed., (2003). Design research : methods and perspectives. Cambridge, Mass: Mit Press.
Totten, C.W. (2014). An architectural approach to level design. Boca Raton, London, New York CRC Press.
Yang, R. and Yoder, A. (2019). The Level Design Book. [online] Leveldesignbook.com. Available at: https://book.leveldesignbook.com/ [Accessed 10 Dec. 2024].