Level 2 - City Rooftops: Design Breakdown
Unlike the City Streets where the player is supposed to feel small surrounded by large buildings, this level was to make the player feel high up above the city. To emphasis this, I used a lot of references from Mirror’s Edge and the Spider-Man games. I wanted the player to feel a sensation of being free as they glided across buildings.
To accomplish that feeling, I placed various vista buildings below the rooftops the player traversed on. So when the players glided and looked around for other structures to glide to, they would see vista rooftops far below them. The environmental artist and I are taking references from Spider-Man games to replicate that feeling of being free and in-control when they swing high above the city and see the smaller buildings below them. Obviously my whiteboxed vista buildings are not the most pretty, but my talented environmental artist, Josh, will create some fantastic vista buildings as we continue to art-up my whiteboxed levels.
My Contribution:
Before planning out the level’s layout with the basic instructions from the team, I spent some time with the new gliding ability to help me analyze the gliding mechanic. How it feels to control and experimenting its potential for overcoming challenges/puzzles that I can design for it. Through this understanding of the new ability and enemy type, I was able to successfully teach the player the new features through engaging gameplay rather than dedicated tutorials.
On top of adjusting code for the new enemies so they behaved as I wanted, I also scripted elevators that open their doors when the player is near. The first few elevators the player encounters contain health packs/collectibles, while others later in the level contain Turret enemies that shoot at the player for a surprise attack (which took a lot of adjusting through code to work as intended). Much like the chests from Dark Souls, the player will have to be cautious when approaching these elevators as some of them can be threats while others can grant rewards.
Feeling the level ended just when the it was getting interesting, I added an entire new section I didn’t initially plan for (Section 5). After calculating resources, I concepted and presented my prototype for the new finale to the team, which was green-lit for development. Expanding upon the Vertical Tunnel finale from level 1, I made a variant of the vertical tunnel that tailored to the new features introduced in this level. I could design the tunnel’s interior in new ways to create a short, but intense experience that tied everything the player just learned together for a challenging finale.
My Contribution:
Before planning out the level’s layout with the basic instructions from the team, I spent some time with the new gliding ability to help me analyze the gliding mechanic. How it feels to control and experimenting its potential for overcoming challenges/puzzles that I can design for it. Through this understanding of the new ability and enemy type, I was able to successfully teach the player the new features through engaging gameplay rather than dedicated tutorials.
On top of adjusting code for the new enemies so they behaved as I wanted, I also scripted elevators that open their doors when the player is near. The first few elevators the player encounters contain health packs/collectibles, while others later in the level contain Turret enemies that shoot at the player for a surprise attack (which took a lot of adjusting through code to work as intended). Much like the chests from Dark Souls, the player will have to be cautious when approaching these elevators as some of them can be threats while others can grant rewards.
Feeling the level ended just when the it was getting interesting, I added an entire new section I didn’t initially plan for (Section 5). After calculating resources, I concepted and presented my prototype for the new finale to the team, which was green-lit for development. Expanding upon the Vertical Tunnel finale from level 1, I made a variant of the vertical tunnel that tailored to the new features introduced in this level. I could design the tunnel’s interior in new ways to create a short, but intense experience that tied everything the player just learned together for a challenging finale.
Problems and Solutions:
As this level was to introduce new enemies and a significant new player ability, it was a challenge to design game spaces that tailored to the difficulty aspect of my levels (as they were the final levels in the game) and at the same time create a tutorial space for these new features. However, following level design practices used in many Nintendo games, I integrated the Gliding tutorial with a platforming puzzle space.
This way it didn’t feel like a tutorial, but rather the player was completing platforming challenges by using the new ability with features they already were familiar with. For example, the player had prior experience with vent fans that lifted the player upwards in previous levels. However, one of the first vent fans I had placed wasn’t powerful enough to get the player up to the roof on its own. I placed a structure that was slightly higher than the vent fan. Leading the player up to that higher vantage point by placing Jolts there, the layout would encourage the player to glide over the fan. The fan would then lift the player upward mid-glide and allow the player to gain more airtime and get high enough to reach the rooftop.
This taught the player they can use fans mid-glide to get higher altitudes since there is no other way for players to gain verticality when they glide. I used similar techniques to teach the player other useful tips on gliding as well as in the introduction to the new enemy type. I also used collectibles to encourage the player to find new ways to use the Gliding ability in the dedicated "tutorial" space.
As this level was to introduce new enemies and a significant new player ability, it was a challenge to design game spaces that tailored to the difficulty aspect of my levels (as they were the final levels in the game) and at the same time create a tutorial space for these new features. However, following level design practices used in many Nintendo games, I integrated the Gliding tutorial with a platforming puzzle space.
This way it didn’t feel like a tutorial, but rather the player was completing platforming challenges by using the new ability with features they already were familiar with. For example, the player had prior experience with vent fans that lifted the player upwards in previous levels. However, one of the first vent fans I had placed wasn’t powerful enough to get the player up to the roof on its own. I placed a structure that was slightly higher than the vent fan. Leading the player up to that higher vantage point by placing Jolts there, the layout would encourage the player to glide over the fan. The fan would then lift the player upward mid-glide and allow the player to gain more airtime and get high enough to reach the rooftop.
This taught the player they can use fans mid-glide to get higher altitudes since there is no other way for players to gain verticality when they glide. I used similar techniques to teach the player other useful tips on gliding as well as in the introduction to the new enemy type. I also used collectibles to encourage the player to find new ways to use the Gliding ability in the dedicated "tutorial" space.
Initial Paper Concepts:
Although most of my initial designs made it to the current in-game state, I had to design and build a whole new level finale in less than 3 days to meet my milestone. I successfully reached the milestone and made an engaging finale. However, as playtesting continues, further adjustments may be needed for balancing purposes.
As you can see, I changed the direction of Section 4 from the initial concept to the in-game version. I did this to help flow and player's sights on core objectives for that section.
Although most of my initial designs made it to the current in-game state, I had to design and build a whole new level finale in less than 3 days to meet my milestone. I successfully reached the milestone and made an engaging finale. However, as playtesting continues, further adjustments may be needed for balancing purposes.
As you can see, I changed the direction of Section 4 from the initial concept to the in-game version. I did this to help flow and player's sights on core objectives for that section.
This concept over laps on itself for room on the paper, Section 1 = upper-left corner (and reaches until mid page), Section 2 begins right under Section 1 on the left, picking up where Section 1 left off
Section 1 - Opening Section
Situating the player to the new environment, I use Jolts to lure the player around this condensed square-sized area for optional exploration. In this area, the player can see the first elevator I created. Inside this elevator is a health pack, making players trust elevators for aid.
One of the first things the player sees when starting the level is a billboard that shows the player on a “wanted” sign (currently a Star Wars Bounty Hunter image as a place holder below). This tells the player the bad guys are looking for the player and this level will have more enemies than the previous level.
Section 2 - Gliding Intro
Once the player reaches the first checkpoint on a large balcony, the player sees the roof is too far to jump. On the balcony is an ally that has helped the player in previous parts of the game, he will tell the player how to glide. I had more fluid ways of teaching the player how to glide, but it was too resource demanding, so we scraped those ideas. But maybe during the polish phase, we can revive some of the cool ideas the team and I discussed if resources permit.
As explained in the “Problems and Solutions” section above, I designed the glide tutorial area to feel less like a tutorial but rather just a platforming puzzle allowing the player to experiment with the new gliding on their own to reach new heights, literally. Using references from actual city rooftop layouts and games that depict rooftop traversal, I was able to create a flow connecting rooftops and structures that fit the cartoony, sci-fi direction of Funk UnPlugged's Futuristic City.
To encourage players to utilize and figure out new ways to use gliding on their own and not prompted by instructions or text, I placed collectibles around. That way players can choose to expand their gliding skills to collect them and feel a sense of reward rather than just doing the extra challenge to complete a tutorial.
With all the collectibles placed around the environment, I needed to ensure players had a way to backtrack if they wanted to collect missed collectibles. Since players couldn't get more airtime during a glide, besides for vent fans, I had to design the environment to support pathways to get players back up to critical jump points. The challenge was making it so players couldn't take the "backtrack" paths to reach objectives rather than actually solving the platforming/gliding puzzle. Through clever design and thorough understanding of the gliding mechanic, I accomplished this goal.
Section 3 - New Enemy Intro
I designed the introduction of the new enemy type that shot missiles in the sky that tracked the player. I spent some time adjusting and experimenting with the enemy’s variables. The Missile-Seeking enemy needed to perform in an engaging manner, but also be fair enough as it was the first experience players had of gliding in a hostile environment.
Missile-Seeking enemy = sphere with arms on right, player entrance = tunnel exit with purple light above on left
To introduce this Missile-Seeking enemy, I made the player traverse a linear space with various ledges, roofs, and stationary cars of all varying heights. When the player enters the section, the camera will pan over to reveal the missile enemy where he will shoot a stationary car to show the player two things. These enemies shoot missiles and their missiles can destroy cars. With the missile enemy’s location on the opposite end of the player's entrance point, the player will constantly have eyes on the enemy and see the missiles coming towards him as he platforms along the linear pathways.
As the player makes it across the area, an opening on the left reveals a checkpoint players will go to, bringing them to the next section. The Missile-Seeking enemy in this introduction area is also high above the player, so the player has no way to kill the enemy. The enemy is also still in a prototype stage (visible by its appearance) so the player cannot kill the enemy yet anyways as the team is still trying to fine tune its stats.
Player’s view of area from entrance (Missile enemy straight ahead/up)
As incoming missiles in this linear space can be chaotic, I designed the space to have 3 critical paths the player can take to successfully reach the end (the left side, middle, and right side). The player can visually tell what jumps are achievable despite all the chaos occurring. I specifically placed stationary cars to connect the outer ledges/roofs, so players can easily change directions/pathways and get out of the way of incoming missiles. Players can also explore the area to find the route to a Gold Record, a rare collectible used to unlock other levels, in a higher structure back by the entrance. Players will have to backtrack while missiles come flying towards them, acting as an extra challenge for players willing to risk it.
As the Missile-Seeking enemy is still in a prototype stage, the destruction of cars are not yet in the game. But if we go forward with the idea, it will work like this. Once a car is hit by a missile, the car will spin downward below the fog covering the city (acting as a visual marker for the player's death zone). After a few seconds, the car will rise from the fog and take its original spot. Since the cars are crucial platforms for the player to use in this section, we needed a way for destroyed cars to be replaced.
My idea was to make the cars disappear for a short while forcing the player to use other means of traversing the area until the car comes back, adding to the chaos this section is supposed evoke. It would also add to the player’s perception of the bad guys being actual bad guys too. Willing to shoot civilian cars to destroy the player is what bad guys would do. However, the team and I are still thinking of ways to properly implement the destruction of cars in a less bizarre way, but still not permanently remove the cars as a platform. It would be weird to see a car go down in flames just for the car to rise from the fog below and retake its place. Then again, the missiles could maybe cause temporary damage to cars...?
Section 4: Busy Street:
This section pins the player against another Missile-Seeking enemy. However, the game space is not a linear path, but rather a circle. The space also further challenges the player with flying cars zipping through the center gap. The lines of sights from the area's entrance reveals the Missile-Seeking enemy's location to the player. Since the enemy is perched up on a large balcony near the center of the area, it tells the player “I need to get up there.”
While the player follows the path wrapping around the edges of the circular area, missiles will track the player from all directions as the player no longer has constant sights on the Missile-Seeking enemy. The player also has to platform his way up to the center balcony while dodging generic enemy types, rapid moving cars, and other hazards.
Since there is a lot going on for the player, I tried to make the intended path for the player clear by highlighting them with lights and jumps that looked achievable. Adding health packs and collectibles off the beaten path, it adds an extra challenge for players willing to stay in the hostile environment longer. However, players can collect them easier after they destroy the Missile-Seeking enemy. Although there is no more missiles chasing them, players still have to backtrack and spend time exploring my environment to get them while continuing to avoid other hazards.
Jumping across platforms while avoiding cars and in-coming missiles challenges the player ability to move around and ties gliding with skilled-jumps, which is exactly what my levels are supposed to emphasize on. It is just a matter of continuing to have people test the map and see if any further adjustments are needed for the best possible experience.
Parts of this area’s environment is under construction too. This is to foreshadow the start of Level 3 as the player gets closer to the bad guys’ tower.
Section 5: Vertical Tunnel 2.0:
Originally, the level was to end after reaching the balcony area in Section 4. However, the director and other team members who helped me test the level all agreed when I said the level ended too abruptly when the action was just picking up.
Restricted by time as the deadline was a few weeks away and I hadn’t yet started blocking out Level 3 yet. I quickly concepted a new finale for Level 2. It built off the Vertical Tunnel in Level 1’s finale. This time, it was designed for gliding and the new enemy type, continuing the level's intensity.
I also wanted the player to start seeing more signs of the construction site so when level 3 started, it didn’t seem like the construction setting came out of nowhere. When the player reaches an end to the mid-built bridge/walkway, the player can see a Gold Record across the large gap and a tunnel exit highlighted in blue lights below (image above). This tells the player to go here. It is also the only platform that is in view that looks like it can be traversed.
The player glides through stacks of moving traffic, runs and jumps over moving cars exiting the tunnel to finally arrive inside the new vertical tunnel structure. This tunnel has moving traffic going upward (like in level 1’s tunnel) and traffic going horizontally.
The player makes his way through the tunnel via a zig-zag flow while making timed jumps to avoid cars and missiles. Although the player can’t see them right away, there are 2 Missile-Seeking enemies at the top of the tunnel where the player must go. A noise occurs to alert the player he has entered the range of a Missile enemy.
With this tunnel having more space for the missiles to chase the player better, I needed more efficient ways for the player to gain verticality in this tunnel. I created “express-way" tubes. These tubes shoot cars through them super-fast. I placed 2 express-way tubes on both sides of the tunnel, the player jumps into the tubes and get shot out at the next opening where the player will glide to new platforms at higher heights. To create these, I manipulated the scripts used for the vent fans and adjusted variables. I also created invisible colliders so when the player shot out, it was smooth and seemed like the player was being sucked out.
However, cars zoom through the tubes regularly, so players will have to time their jumps here too because getting hit by cars is fatal. As players shoot through the tubes, they can look below and sometimes see cars zooming towards them, creating a tense "hurry up" feeling. The tubes are surrounded with a transparent texture so players can see cars coming and also see outward as they get shot through the tube. I use wind blowing animations to attract the player to the entrances of the tubes.
Once the player reaches the top platform, the player can choose to take out the Missile-Seeking enemies perched on top of some tunnel exits. That way players can descend back down the tunnel and collect the collectibles I placed around easier, but they still need to make their way back to the top in one piece. The level ends in the next room. There the other half of the bridge under construction can be found and the player can collect the Gold Record they saw before. It is also a chance for the player to reflect everything they just overcame to get to where they are now. A small, but meaningful reflection some players may appreciate.
Although the new finale is short, it is very intense and further testings will be needed to ensure the finale isn’t frustrating, but rather an exciting challenge. For limited time, I am pleased with the new finale. I liked redesigning the vertical tunnel structure from level 1 to tie together the gliding mechanic with the new enemy type for a fresh and engaging experience.
