Statement of intent

Having finished the body of my statement of intent last week, at the beginning of this week I spent time reading over and critically analysing the document for grammatical mistakes and areas for improvement. On the whole, I was satisfied with my writing, however there were some areas that were reworked for conciseness and clarity. In my research section, I was able to cut down on a great deal of words by simply including an image that conveyed my point far better than I could in writing. I also made sure my referencing was in line with Falmouth-Harvard guidelines. While not the most exciting job to undertake, it was important to take the time to ensure my written communication was to a high standard. This is not just because it is part of the marking rubric, but more importantly because communication is possibly the most important skill for a game designer to have, whether it be through a conversation with a teammate, or an extensive game design document.

Level design work

With the statement of intent completed and submitted, I am now able to turn my full attention for this module onto the level’s creation.

To start with, I added some scenery to the large open room that serves as the final mining area before the player enters the Nordic crypt proper. As the player enters the room at an elevated position, I needed a way for them to naturally reach ground level. To do this, I used the ‘scaffolding’ kit, placing a platform connected via a bridge, as well as a staircase (fig.1). Next I decided to make the space feel more natural by placing structures that help to add elevation and reduce the amount of flat surfaces resulting from modular pieces. I added an exit at the opposite side of the room, in direct line-of-sight of the player. I think that the final shape of the space feels far more natural and irregular than it originally did (fig. 2).

As I continue to become more proficient with the Creation Kit, understanding which pieces fit together and memorising naming conventions, I hope to be able to create level spaces at a quicker pace. I want to be able to have the flow and pacing completed with enough time for me to do some FX, lighting and clutter passes. This will not only make the level much more visually attractive, but can also be used to direct the player through deliberate signposting and lighting decisions, making it a crucial part of the development process. As a disclaimer, I do not intend to detail every single step of my level creation process for this project, as I feel that would make for a rather dull and lengthy blog. Instead, I intend to write about any parts of the development process through which I have learnt new techniques or faced unique challenges that have led me to grow as a game designer and developer.

Transitions

From here, I knew that I had to somehow transition from the mines into the Nordic crypt. This posed a challenge as they are formed of two separate “kits” (how Bethesda refers to modular sets) and I was unsure how to blend between them. In some cases, the artists have planned for this event, and included custom transitions that allow a level designer to seamlessly transition between different aesthetics. However in this case, I would be unable to rely on such a technique, as I wanted it to look as if the miners had accidentally broken through into the crypt. As far as I’m aware there is no custom transition for something like this, which meant I would have to get creative.

I started by placing a ‘MineCLHall1Way01’ and ‘NorHallBg1Way01’ in the same location. Then, I turned grid-snapping off and carefully aligned their floor sections, allowing for them to somewhat blend together. However this transition was far from perfect – as you can see from the images there are visual seams on both the floor and walls where the assets overlap (fig. 3 & fig. 4). Even more noticeable is the void above the Nordic hallway, resulting from the cave hall piece being far taller. Luckily, there are a number of tools at my disposal within the Creation Kit to help counteract these issues.

Firstly, I filled in the gap above the transition by placing a variety of ‘boulder’ assets arranged to look like a naturally sloping ceiling. Next, I covered over the floor seams by placing some ‘dirt mounds’ into the corridor, making the floor look more uneven and gradual in its transtion. Finally, in order to cover up the wall seams, I placed two ‘cave pillars’ at either side of the hallway, making a natural archway for the player pass through. I think that the transition is now relatively seamless and believable, rather than abrupt and sudden (fig. 5 and fig. 6).

Research

This week, I watched another GDC lecture, all about incorporating narrative into level design (Menzel 2017). The talk provided some interesting insights into narrative delivery through deliberate level design. This extends past environmental storytelling, and into all aspects of a game with the lecturer arguing that all elements that make up a game contribute to storytelling. I found the section on pacing to be particularly insightful and beneficial. Good pacing is a very difficult aspect of game design to achieve, as games are inherently interactive and variable in their pacing. Menzel offered ‘movement incentives’ and ‘movement deterrents’ as techniques through which a game designer can attempt to better control the pace of their experience. Movement incentives include threats, objectives and time limits, whereas movement deterrents include tension, obstacles, and puzzles. I will endeavour to use what I have learned from this talk within my own level’s design moving forward.

References

MENZEL, Jolie. 2017. A Narrative Approach to Level Design [GDC talk]. Available at: https://www.youtube.com/watch?v=FhKjv7CPUqw [accessed 18 February 2022].

The Elder Scrolls V: Skyrim. 2011. Bethesda Game Studios, Bethesda Softworks.