THE MERC
Introduction
Specifications
I wanted to challenge myself and make a narrative design piece with the design, scripting and sequences to tell the story. I limited myself with assets on the Unreal Marketsplace and build the story around it.
Time Spent: 8 Weeks half-time
Engine: Unreal Engine 5.2
References: Dead space, Half-life
Template: By Max forsberg, and improved by me
Assets: Taken from unreal marketplace
PROJECT SUMMARY
OVERVIEW
The Mission
In this narrative level, you play as a hired mercenary in a sci-fi inspired universe.
Your mission is to infiltrate a syndicate science base on an off-world planet, reach the ancient portal hidden in the depths of the base, and shut down the alien portal rumored to have the power to change the world. However, something inexplicable happens close to your arrival, and your ship crashes just before landing. As the sole survivor, you must complete the mission alone at any cost and uncover what's really going on in the laboratory, ultimately stopping the syndicate from completing their objective with the portal.
OVERVIEW
My Goal
My goal was to challange my self and try to do a enviromental story telling project. I mainly used assets from the marketplace and adapted my story to that limit. Build up events and cinematic views to tell the story and to get the player hooked all the way through without combat engegaments from the start.
DEVELOPMENT PROCESS
PRE PRODUCTION
ROUGH SKETCH
I began by sketching by hand to get an overview of what I wanted. I made a lot of changes on the fly after numerous playtests. I iterated everything from scale to phases and events.
INSPIRATION
I drew inspiration from games like Dead Space and Half-Life when it came to gameplay and settings. When it came to the story, i took inspirations from a previosly made piece made by me. I expanded upon it, redesigned areas, added more content and rebuild the story.
PAPER PLANNING
I created a flowchart to outline the acts and what should be happening in each one. The flowchart helped me maintain better control and provided an overview of the level's flow.
The final version of my project deviated slightly from the initial draft of the flowchart, but it gave me a good indication of the workflow and enabled easy iteration on the go.
BLOCKOUT TO ALPHA
BLOCKOUT
I began with a blockout and developed the phases and events as I progressed. My vision was to create an environmental experience with a deep story conveyed through worldbuilding. I did a lot of playtest to get the scale, flow and content right. Once I had established the length and a suitable scale, I proceeded to populate the world with assets.
OVERVIEW
ENTRENCE
LABORATORY
TEAMWORK
GLITCH-EFFECT
I teamed up with Atlas Gonzales (VFX-Artist) to use a glitch effect in the game, that i wanted to have in the end when the portal activated. We worked and shared our progress through github.
GAMEPLAY
COMBAT
I wanted to create a mixture of combat encounters and get the player to choose how and when to engage. So the player had different kinds of engagement and it feelt rewarding to the player to complete
COLOURS & LIGHTS
To guide the player through the level I used colours and lights. I mainly used red colours for vents and orange for pickups. For lights I used red as static and orange as moveable to make it stick out and add a contrast from the surrounding colours.
INTERACTIBLES
Through out my level i added different kind of interactbles to get the player more involved to explore and advance futher into the level.
WALK-THROUGH
ACT 1
SYNOPSIS
Act 1 is a introduction and world building act. It starts with and introduction sequence with the mission brief. The player crash on the floating island and has to explore the seemingly abandoned base. Slowly the player unreveal its not abandoned and get slowly into what could have caused the problem and what the base is used for.
ACT 1
Introducing a key piece in the envorimental story telling, the flower.
Introducing a key piece in the envorimental story telling, the flower.
Introducing a key piece in the envorimental story telling, the flower.
Introducing a key piece in the envorimental story telling, the flower.
Introducing a key piece in the envorimental story telling, the flower.
Introducing a key piece in the envorimental story telling, the flower.
Introducing a key piece in the envorimental story telling, the flower.
Introducing a key piece in the envorimental story telling, the flower.
Act 2
SYNOPSIS
Act 2 starts of with a build up whats really going on in this facility, the player gets to explore a human experiment area and is introduced to the combat system for the first time. After exploring the human lab the player walks into a area of chambers filled with "zombies". Some of them have escaped and the player has to fight through the area. A cctv space is found and by looking at the screen a sequence plays, the player can se its more than zombies alive.
By having the bodies the same colour as the flowers, giving a narrative connection between them.
Player found its first weapon here, changeing the gameplay from a only exploration phase to a combat phase.
I wanted to change up the combat from the first two scenarios and get a varriation of engagements.
By having the bodies the same colour as the flowers, giving a narrative connection between them.
Player found its first weapon here, changeing the gameplay from a only exploration phase to a combat phase.
I wanted to change up the combat from the first two scenarios and get a varriation of engagements.
By having the bodies the same colour as the flowers, giving a narrative connection between them.
Player found its first weapon here, changeing the gameplay from a only exploration phase to a combat phase.
I wanted to change up the combat from the first two scenarios and get a varriation of engagements.
By having the bodies the same colour as the flowers, giving a narrative connection between them.
Player found its first weapon here, changeing the gameplay from a only exploration phase to a combat phase.
I wanted to change up the combat from the first two scenarios and get a varriation of engagements.
By having the bodies the same colour as the flowers, giving a narrative connection between them.
Player found its first weapon here, changeing the gameplay from a only exploration phase to a combat phase.
I wanted to change up the combat from the first two scenarios and get a varriation of engagements.
By having the bodies the same colour as the flowers, giving a narrative connection between them.
Player found its first weapon here, changeing the gameplay from a only exploration phase to a combat phase.
I wanted to change up the combat from the first two scenarios and get a varriation of engagements.
By having the bodies the same colour as the flowers, giving a narrative connection between them.
Player found its first weapon here, changeing the gameplay from a only exploration phase to a combat phase.
I wanted to change up the combat from the first two scenarios and get a varriation of engagements.
By having the bodies the same colour as the flowers, giving a narrative connection between them.
Player found its first weapon here, changeing the gameplay from a only exploration phase to a combat phase.
I wanted to change up the combat from the first two scenarios and get a varriation of engagements.
Act 3
SYNOPSIS
The final act, is when player engage with the Mamba syndicate for the first time. Watching down at the bridge a fight accure between the syndicate and zombies. Player choose to join in or wait for the outcome. After the bridge a big combat space is revealed, the syndicates last stand. The space is leading into a controll room, controlling the experiment on the ancient portal. Player have to try to shut the ancient portal down, but its to late. The portal goes in to max power and activates complety. The end.
A twist i revealed when the player try to destroy/shut it down. The portal gets fully activated and the same shimmering green light seen when the ship crashes is seen again.
A twist i revealed when the player try to destroy/shut it down. The portal gets fully activated and the same shimmering green light seen when the ship crashes is seen again.
A twist i revealed when the player try to destroy/shut it down. The portal gets fully activated and the same shimmering green light seen when the ship crashes is seen again.
A twist i revealed when the player try to destroy/shut it down. The portal gets fully activated and the same shimmering green light seen when the ship crashes is seen again.
A twist i revealed when the player try to destroy/shut it down. The portal gets fully activated and the same shimmering green light seen when the ship crashes is seen again.
A twist i revealed when the player try to destroy/shut it down. The portal gets fully activated and the same shimmering green light seen when the ship crashes is seen again.
A twist i revealed when the player try to destroy/shut it down. The portal gets fully activated and the same shimmering green light seen when the ship crashes is seen again.
A twist i revealed when the player try to destroy/shut it down. The portal gets fully activated and the same shimmering green light seen when the ship crashes is seen again.
WORLD BUILDING
BACKGROUND STORY
I made a background story to my level to easier have a plot to follow and guide to take inspiration from. It helped me alot to express my design. Here under you can read about some of the key backgrounds of the story
They control several planets on the outer rim and rule them with an iron fist. The leader of the syndicate is unknown. They are known for their ruthlessness and have access to unlimited resources from trading with other syndicates and outlaws.
They usually work for the main worlds and private companies that can afford to hire them.
The landscape is comprised of floating islands, with the core mostly gas. The islands float over the core by unknown power.
They control several planets on the outer rim and rule them with an iron fist. The leader of the syndicate is unknown. They are known for their ruthlessness and have access to unlimited resources from trading with other syndicates and outlaws.
They usually work for the main worlds and private companies that can afford to hire them.
The landscape is comprised of floating islands, with the core mostly gas. The islands float over the core by unknown power.
They control several planets on the outer rim and rule them with an iron fist. The leader of the syndicate is unknown. They are known for their ruthlessness and have access to unlimited resources from trading with other syndicates and outlaws.
They usually work for the main worlds and private companies that can afford to hire them.
The landscape is comprised of floating islands, with the core mostly gas. The islands float over the core by unknown power.
They control several planets on the outer rim and rule them with an iron fist. The leader of the syndicate is unknown. They are known for their ruthlessness and have access to unlimited resources from trading with other syndicates and outlaws.
They usually work for the main worlds and private companies that can afford to hire them.
The landscape is comprised of floating islands, with the core mostly gas. The islands float over the core by unknown power.
They control several planets on the outer rim and rule them with an iron fist. The leader of the syndicate is unknown. They are known for their ruthlessness and have access to unlimited resources from trading with other syndicates and outlaws.
They usually work for the main worlds and private companies that can afford to hire them.
The landscape is comprised of floating islands, with the core mostly gas. The islands float over the core by unknown power.
They control several planets on the outer rim and rule them with an iron fist. The leader of the syndicate is unknown. They are known for their ruthlessness and have access to unlimited resources from trading with other syndicates and outlaws.
They usually work for the main worlds and private companies that can afford to hire them.
The landscape is comprised of floating islands, with the core mostly gas. The islands float over the core by unknown power.
They control several planets on the outer rim and rule them with an iron fist. The leader of the syndicate is unknown. They are known for their ruthlessness and have access to unlimited resources from trading with other syndicates and outlaws.
They usually work for the main worlds and private companies that can afford to hire them.
The landscape is comprised of floating islands, with the core mostly gas. The islands float over the core by unknown power.
They control several planets on the outer rim and rule them with an iron fist. The leader of the syndicate is unknown. They are known for their ruthlessness and have access to unlimited resources from trading with other syndicates and outlaws.
They usually work for the main worlds and private companies that can afford to hire them.
The landscape is comprised of floating islands, with the core mostly gas. The islands float over the core by unknown power.
ENVORIOMENTAL STORYTELLING
My level cirkels around three main envoriomental assets that is key to the story. They repeat and connect to eachother through out the whole level.
The flowers are the key to its power.
The flowers are the key to its power.
The flowers are the key to its power.
The flowers are the key to its power.
The flowers are the key to its power.
The flowers are the key to its power.
The flowers are the key to its power.
The flowers are the key to its power.
The flowers are the key to its power.
The flowers are the key to its power.
CLOSING THOUGHTS
REFLECTIONS
I really enjoyed the time I spent on this project. I had a blast decorating and creating a story and a universe surrounding it. However, it was also a challenging experience working on this piece. It took far longer than I expected, with some parts. Things I thought would go quickly took their time, and vice versa. I enjoyed my time spent on sequences throughout the experience, though it was a fast and rushed project for its scope.
If I were to do it again, I wouldn't have focused so much on decorations, and spent more on the combat experience and gameplay. The combat areas and gameplay didn't receive as much attention as they needed to shine. I was too focused on creating a narrative piece with environmental storytelling, so I lost sight of creating engaging combat spaces throughout the level. I also would have introduced combat earlier and included more content throughout the experience.
Howeever i am really happy how the map turned out from a narrative point and how much i learned and will take with me for future proejcts.
ISSUES
Through out my building phase i had a lot of issues. Becouse i used a lot of assets from the market place that isnt optimzed for a smooth gameplay experience beacuse of high resolution textures and lots of detailed meshs. I had to spend some fair bit of time to optimize the performance in form of force texture to lower resolution and change a lot of settings in the engine. Even that didnt solve everything. To solve this I choose to make my level in streams so i could controle how much that would be loaded in at any time to optimize the performance.