References

Putting together a strong moodboard early in the project helps me establish the overall feel of the level. It also streamlines my blockout process by reducing the amount of times I have a blank canvas.

By analyzing the shapes within the reference images, I can blockout the intended environment more accurately. The moodboard also gives me a clearer sense of the intended lighting and atmosphere.

Gathering reference images is only the beginning. It’s also important to understand how different areas connect and why they’re designed the way they are. That way, when you build your own version, it still feels cohesive and believable as a location.

If you don't have a good understanding of the "why", players will feel like something is wrong, even if they can't say exactly what.

Researching The Why

Designing on paper helps me with exploring ideas without really commiting to one specific idea. It allows me to focus on shapes, layout and flow without getting distracted by details.

Paper designing makes iterating easier, bad idea? Cross it out. New idea? Draw it next to old one. I enjoy paper designing because I can explore and produce many iterations quickly just by drawing on paper.

During the blockout phase of my design process, I aim to iterate as much as possible. My iterations are driven by feedback as well as new ideas that emerge while building the level.

I frequently alternate between paper designing top-down layouts on paper and blocking out directly in the engine. While designing on paper allows for speed and flexibility. But it’s only through the player’s perspective that elements like spacing and scale become fully apparent.

Intake of raw ore

The level is designed to clearly communicate the factory’s production process while maintaining a logical, cohesive flow. The spaces are arranged in chronological order, starting with the intake of raw ore, followed by its transport in large buckets, then its conversion into metal plates, and later the storage of those plates. The production process concludes with the construction of mechs using the materials produced throughout the factory.

This progression reinforces how each part of the environment is interconnected, helping the player understand not only what is happening, but also why the spaces are arranged in this specific order.

Overall, this piece was a fun challenge and a great opportunity to learn even more about analyzing shapes, spatial composition, and how to more effectively convey mood through lighting. I am particularly proud of how the lighting in the more warmer areas in the level turned out.

I would have wanted to pushed the chase sequence further to make it feel even more intense and really selling the idea that they are trying to catch the player. This could be achieved by adding more enemies, such as standard foot soldiers, or introducing a moment where the player must avoid a patrolling mech actively hunting them.

I also would have liked to include a level sequence triggered when the player reaches the ship, showing the ship escaping at the last second just before the hangar doors close. However, due to time limitations this could not be implemented, but I think it was a necessary desicion to be made for the overall scope for this piece.

Overall I am satisfied with the end result and the amount of new knowledge I have aquired, but I think things can always be adjusted and be improved!

I appreciate you taking the time to read. Thank you!

//Albin